MOHWIONAi  BVmiTIlN/ 
PAINTING  and  riNl/niNG 

ISSUED  BY 

The  Sherwin-Williams  Co. 


PROFESSIONAL  BULLETIN 

For  Architects  and  Fngincers 

On  the  Subject  of 

Painting  and  Finishing 

ISSUED  BY 

DEPARTMENT  OF  ARCHITECTURAL  SERVICE 

The  Sherwin-Williams  Co. 

CLEVELAND,  OHIO 


NO.  1 


KniTKD  n\  n.  luin  r 


VOL.  1 


Painting  of  Concrete 

The  advantages  of  painting  exterior  concrete 
or  stucco  walls  are  many.  Probably  the  most 
important  thing  which  Sherwin-Williams  Con- 
crete Wall  Finish  does  for  such  a surface  is  to 
relieve  the  somewhat  cold  monotony  of  un- 
treated concrete  by  adding  warmth,  life  and 
color  to  the  appearance  of  the  building.  This, 
however,  is  not  the  only  function  of  Sherwin- 
Williams  Concrete  Wall  Finish.  It  also  acts 
as  a weather-proofing  for  the  walls,  tending  to 
exclude  dampness  and  protecting  materials 
used  in  construction  of  the  building  from 
deterioration  through  moisture.  It  also  tends 


and  Stucco  Surfaces 

to  eliminate  hair  cracks  caused  by  porosity  of 
unfinished  surfaces,  and  reduces  the  streaking 
of  the  walls  from  rain  and  dirt  to  a minimum. 

Sherwin-Williams  Concrete  Wall  Finish  is  a 
liquid  paint.  It  is  one  of  the  many  Sherwin- 
Williams  architectural  paints  and  finishes  which 
is  especially  made  for  a particular  purpose.  The 
combination  of  pigments  and  liquids  in  this 
material  insures  its  ability  to  withstand  for  the 
longest  possible  time  the  action  of  the  elements 
as  well  as  various  kinds  of  gases  found  in  manu- 
facturing and  railway  localities. 


IMPORTANT  NOTICE 

This  series  of  bulletins  on  the  subject  of  painting  and  finishing  is  issued 
for  the  benefit  of  architects  and  engineers  of  the  United  States  who  are  inter- 
ested in  securing  the  best  possible  results  from  the  application  of  paints  and 
varnishes.  The  bulletins  are  prepared  with  the  problems  of  the  architectural 
profession  in  mind  and  this  Company  believes  that  the  contents  thereof  will 
prove  to  be  of  great  assistance  on  many  occasions. 

Whenever  confronted  by  some  puzzling  problem  on  painting  and  finish- 
ing which  does  not  appear  to  be  covered  by  these  bulletins,  we  urge  that  the 
matter  be  referred  to  our  technical  experts  in  our  Department  of  Architectural 
Service,  who  will  be  happy  to  assist  to  a satisfactory  solution  to  the  problem. 


To  be  filed  in  binder  provided  far  purpose 


Pa^e  two 


Residence  of  Mrs.  Marshall  Field,  Washington,  D. 

Painted  with  Sherwin-Williams  Concrete  Wall  Finish 


PAINTING  CONCRETE  AND  STUCCO  SURFACES 


Drying  with  a beautiful  flat  finish,  Sherwin- 
Williams  Concrete  Wall  Finish  is  far  more 
attractive  and  suitable  a finish  for  concrete 
exterior  surfaces  than  a paint  which  dries  with 


a gloss.  It  has  the  beautiful  fiat  velvety  effect 
of  an  interior  fiat  wall  finish,  which  adds  greatly 
and  detracts  in  no  way  from  the  distinctive 
appearance  of  the  concrete  or  stucco. 


Uses 


Ideal  for  painting  concrete  or  stucco  walls  of 
residences,  garden  walls  and  similar  surfaces, 
Sherwin-Williams  Concrete  Wall  Finish  is  also 
used  extensively  for  painting  exterior  concrete 
walls  of  manufacturing  plants  as  well  as  loft 
and  office  buildings.  Sherwin-Williams  Con- 
crete Wall  Finish  is  also  used  for  painting  con- 


crete bridges  and  re-inforced  concrete  poles. 

This  material  is  also  used  to  a considerable 
extent  to  paint  brick  walls,  particularly  those 
of  old  brick  buildings  to  which  new  additions 
have  been  made.  The  same  method  of  appli- 
cation is  followed  in  finishing  brick  walls  as  in 
the  case  of  concrete  or  stucco  work. 


Application 


Sherwin-Williams  Concrete  Wall  Finish  is 
very  dense  and  efficient  in  covering.  For  this 
reason,  it  is  possible  to  secure  a most  satisfactory 
finish  with  but  two  coats  of  this  material.  It  is 
exceedingly  finely  ground  in  modern  paint  mills 
of  exclusive  design  and  manufacture,  conse- 
quently where  that  form  of  application  is  desired, 
the  material  can  be  sprayed  on  to  a surface 
efficiently  with  air-brush  equipment. 

Before  applying  Sherwin-Williams  Concrete 
Wall  Finish,  the  contractor  should  make  sure 
through  careful  inspection  that  the  surface  to  be 


painted  is  thoroughly  dry  and  free  from  dirt  and 
particles  of  sand,  so  that  the  bond  between  the 
paint  and  the  concrete  or  stucco  surface  may  be 
perfect.  Any  salts  or  efflorescence  which  is 
apparent  on  the  surfaces  to  be  finished  should  be 
carefully  scraped  off  and  washed  with  a solution 
of  zinc  sulfate  and  water  mixed  in  the  proportion 
of  three  pounds  of  zinc  sulfate  to  a gallon  of 
water.  After  this  treatment,  the  surface  should 
be  allowed  to  dry  thoroughly  before  any  material 
is  applied.  By  taking  this  precaution  much 
trouble  may  be  avoided. 


Colors 


Sherwin-Williams  Concrete  Wall  Finish  is 
made  in  seven  beautiful  tints  and  shades  and  also 
white.  Color  samples  of  the  Concrete  Wall  Fin- 
ish line  appear  on  page  seven  of  this  bulletin. 

Many  additional  shades  can  be  secured  with 
Sherwin-Williams  Concrete  Wall  Finish  by  add- 
ing white  to  the  various  colors  listed.  Where  the 
quantity  involved  is  large  enough  to  justify 
such  action,  The  Sherwin-Williams  Company  is 

Covering 

Sherwin-Williams  Concrete  Wall  Finish  has  a 
covering  capacity  ranging  between  200  and  250 
square  feet,  two  coats,  to  the  gallon,  depending 


willing  to  manufacture  special  colors  to  order. 

If  the  architect  desires.  Concrete  Wall  Finish 
can  be  purchased  in  white  and  tinted  by  the 
painting  contractor  to  the  shade  approved  by 
the  architect.  Where  this  is  done,  the  specifica- 
tions should  call  for  tinting  with  Sherwin- 
Williams  First  Quality  Colors  in  Oil,  thinned 
with  pure  turpentine  only.  The  use  of  dry- 
colors  for  tinting  should  be  avoided. 

Capacity 

upon  the  porosity  and  texture  of  the  Iwall  which 
is  being  finished.  It  is  put  up  in  one  and  five- 
gallon  packages  and  fifty-gallon  barrels. 


Page  three 


PAINTING  CONCRETE  AND  STUCCO  SURFACES 


Cunningham  & Politeo,  Architects 

Lincoln  School,  Alameda,  California 

Painted  with  Sherwin-Willian\s  Concrete  Wall  Finish 


San  Francisco.  California 


Cunningham  & Politeo,  Architects 


San  Francisco,  California 


Haight  School,  Alameda,  California 


Painted  with  Sherwin-Williams  Concrete  Wall  Finish 


Pa^e  four 


m 


PAINTING  CONCRETE  AND  STUCCO  SURFACES 


O 


Specifications 


All  exterior  concrete  wall  surfaces  shall  receive 
two  coats  of  Sherwin-Williams  Concrete  Wall 
Finish  in  the  colors  selected  by  the  architect. 
Before  proceeding  with  the  painting,  the  paint- 
ing contractor  shall  make  sure  through  careful 
inspection  that  the  surfaces  to  be  painted  are 
thoroughly  dry  and  free  from  dirt.  Any  salts 
or  efflorescence  on  the  surfaces  to  be  finished 


shall  be  carefully  scraped  off  and  the  surface 
washed  with  a solution  of  zinc  sulfate.  The 
first  coat  shall  be  thinned  with  pure  turpentine 
in  proportion  of  one  quart  of  turpentine  to  the 
gallon  of  paint.  At  least  forty-eight  hours  shall 
be  allowed  for  the  first  coat  to  dry,  after  which 
second  coat  shall  be  applied  in  the  consistency 
supplied  by  the  manufacturer. 


E.  F.  Neild,  Architect  Shreveport,  La. 

Residence  of  Herbert  Atkins,  Esq.,  Shreveport,  La. 


Painted  with  Sherwin-Willianns  Concrete  Wall  Finish 


Page  five 


PAINTING  CONCRETE  AND 


STUCCO  SURFACES 


Finishing  of  Cement  Floors 


Sherwin-Williams  Concrete  Wall  Finish  is  not 
recommended  for  finishing  cement  floors.  There 
is  a special  product  for  this  purpose,  known  as 
Sherwin-Williams  Concrete  Floor  Paint.  This 
material  is  made  in  eight  different  colors,  namely. 
Dust  Color,  Gray,  Light  Brown,  Light  Tan, 
Maroon,  Orange,  Slate  and  Yellow. 

The  Sherwin-Williams  Company  also  manu- 
factures a Concrete  and  Cement  Floor  Hardener 
for  use  in  hardening  and  dust-proofing  floors. 


This  is  a colorless  liquid  which,  when  applied 
according  to  specifications,  makes  a cement 
floor  which  may  be  dusting  badly,  as  hard  as 
rock. 

Special  information  on  both  of  these  products 
will  be  gladly  supplied  upon  request.  The 
subject  of  finishing  of  cement  floors  is  so  im- 
portant that  one  of  the  later  bulletins  issued 
by  our  Department  of  Architectural  Service  will 
deal  with  this. 


Residence  of  J.  T.  Russell,  D.  D.,  Canon  National  Cathedral, 
Washington,  D.  C. 


Painted  with  Sherwin-Williams  Concrete  Wall  Finish 


Page  six 


PAINTING  CONCRETE  AND  STUCCO  SURFACES 


Geo.  W.  Maher  & Son.  Architects,  Chicago,  111.  James  Miller,  Painting  Contractor,  Marquette  Bldg.,  Chicago,  111. 


North  Shore  Golf  Club,  Kenilworth,  111. 

Painted  with  Sherwin-Williams  Concrete  Wall  Finish 


Sherwin-Williams  Concrete  Wall  Finish  Colors 


Extra 

Light 

Gray 


Light 

Gray 


Green 

Stone 


Dark 

Gray 


Pa^e  seven 


PAINTING  CONCRETE  AND  STUCCO  SURFACES 


List  of  Leading  Sherwin-Williams  Archi- 
tectural Paints  and  Varnishes 


A Product  for  Every  Purpose 


Flat-Tone  Washable  wall  finish. 

Old  Dutch  Enamel  For  interiors  and  exteriors. 

Mar-not  Varnish  A water-resisting  varnish  for  floors. 

Scar-not  Varnish  For  highest  grade  finishing  of  interior  trim. 

Velvet  Finish  Varnish  For  securing  imitation  rubbed  effects  on  interior  trim. 
Rexpar  A spar  varnish  made  especially  to  withstand  the  elements. 

Sherwin-Williams  Handcraft  Stains  Spirit  penetrating  in  type.  Will  not 
raise  the  grain  of  the  wood. 

Oil  Stains — For  finishing  of  soft  woods. 

Acid  Stains  For  use  on  hard  woods.  Absolutely  non-fading. 

Prepared  Wax  A hard  wax  finish  for  floors  and  interior  trim. 

Concrete  and  Cement  Hardener  For  hardening  and  dust-proofing  cement 
floors. 

Concrete  Floor  Finish  For  producing  enamel-like  finish  on  cement  floors. 
Metalastic — For  protecting  exposed  metal  and  structural  steel. 

Concrete  Wall  Finish  For  painting  concrete,  stucco  or  brick  walls. 

SVFP  The  scientifically  prepared  exterior  paint  for  wood  buildings. 

Plaster  Bond  For  damp-proofing  interior  side  of  exterior  walls  above  grade. 

Antydamp — Foundation  damp-proofing  to  use  on  exterior  of  foundation  walls 
below  grade  before  back  filling. 

Preservative  Shingle  Stains — For  staining  and  preserving  shingles  or  rough 
wood  siding. 

Carbolic-ol  For  preserving  wood  embedded  in  earth. 

Floor-Seal-Oil — For  preserving,  hardening  and  sealing  hard  or  soft  wood  floors 
of  public  buildings,  schools  or  gymnasiums. 


A b Li  t i 


fOLU®75 


I"' 

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S1924-A  E23  824 


PROFESSIONAL  BULLETIN 

For  Architects  and  Engineers 

On  the  Subject  of 

Painting  and  Finishing 


ISSUED  BY 


DERARTMBNT  OF  ARCHITECTURAL  SERVICE 

The  Sherwin-Williams  Co. 

CLEVELAND,  OHIO 


KDITED  BY  A.  H.  BUBT 


Enamel  Finish  on  Interior  and  Exterior  Surfaces 


The  enamel  finish  on  interior  trim  is  becom- 
ing more  popular  each  year.  This  is  true  not 
only  of  the  pretentious  residences  of  the  wealthy, 
but  also  of  the  modest  home  of  the  working 
man  and  apartments 
which  rent  for  very 
moderate  prices. 

The  reason  for  this 
popularity  can  almost 
entirely  be  attributed 
to  the  attractiveness 
of  the  finish.  A room 
in  which  the  interior 
trim  is  finished  with 
a white  or  delicately 
tinted  enamel,  is  a 
room  which  is  invari- 
ably light  and  cheer- 
ful. There  is  an  air 
of  cleanliness  and 
brightness  in  the 
enamel  finish  which  is 
peculiar  to  that  par- 
ticular type  of  finish 


THE  COLGIN  HOSPITAL  AND  CLINIC,  WACO,  TEXAS 
M.  W.  Scott  Sb  Co..  Waco.  Texas,  Architects 


and  produces  an  effect  far  superior  to  the  aver- 
age stained  and  varnished  finish  secured  on 
pine. 

Unfortunately,  where  there  is  any  great  de- 
mand for  a particular 
type  of  finishing  ma- 
terial, such  as  enamel, 
it  can  be  secured  in 
many  different 
grades  or  qualities. 
For  this  reason,  there 
are  literally  hundreds 
of  enamels  on  the 
market  ranging  from 
cheap,  perishable 
enamels,  whose  life 
can  be  gauged  in 
terms  of  months,  to 
the  beautiful,  full- 
bodied,  tough,  elastic 
enamels  of  the  type 
of  Sherwin-Williams 
Old  Dutch  Enamel, 


for  interior  trim.  the  quality  of  which  enamel  is  the  universal 
In  the  dwelling  of  moderate  cost,  enamel  gauge  of  excellence.  Science  has  still  to  pro- 
finish is  frequently  used  in  finishing  pine  trim 


duce  a finer  enamel  than  Old  Dutch. 


Characteristics  of  Old  Dutch  Enamel 


Sherwin-Williams  Old  Dutch  Enamel  is  an 
American-made  enamel  of  the  long  oil  type. 
Years  ago  The  Sherwin-Williams  Company 
secured  a special  formula  from  a Dutch  enamel 


maker.  Our  chemists  worked  with  this  for- 
mula and  accomplished  several  important  im- 
provements of  a nature  which  not  only  improved 
the  beautiful  appearance  of  the  enamel,  but 


To  be  filed  in  binder  provided  for  purpose 


Pa^e  nine 


Page  ten 


■sS 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


gave  it  mechanical  qualities  in  working  and 
drying  which  are  now  the  delight  of  this  coun- 
try’s leading  painters  and  decorators. 

Old  Dutch  Enamel  has  a fullness  of  body  and 
a smoothness  and  depth  of  tone  which  is  pe- 
culiar to  itself.  It  is  remarkably  tough  and 
resistant  to  wear,  which  is  partially  due  to  the 
elasticity  given  to  the  enamel  by  the  wonderful 
pure,  refined  linseed  oil, 
bodied  according  to  the 
secret  processes  of  The 
Sherwin-Williams  Com- 
pany. 

Due  to  its  unusual  com- 
position, Old  Dutch  Enam- 
el may  be  used  for  the  fin- 
ishing of  exterior  surfaces, 
as  well  as  for  interior  dec- 
oration, with  the  most  sat- 
isfactory results.  To  dem- 
onstrate the  exceptional 
durability  of  Old  Dutch 
Enamel,  it  might  be  ex- 
plained that  The  Sherwin- 
Williams  Company  manu- 
factures this  same  enamel 
in  special  colors  for  finish- 
ing the  exterior  of  passen- 
ger cars  of  many  of  the 
country’s  leading  railroads. 

For  this  reason.  Old 
Dutch  Enamel  fills  a crying  need.  Window  sills 
and  window  casings  can  be  finished  with  Old 
Dutch  Enamel  without  fear  of  checking,  crack- 
ing or  turning  its  color,  as  can  exterior  doors, 
pillars,  balustrading  and  similar  surfaces. 


The  whiteness  of  Old  Dutch  Enamel  is  the 
cause  of  admiration  of  everyone  who  sees  it. 
This  whiteness  is  due  to  the  purity  and  white- 
ness of  the  zinc  oxide  used  in  the  manufacture 
of  this  product  as  well  as  to  the  paleness  of 
the  oil  and  reducer  which  are  employed.  Old 
Dutch  Enamel  is  made  to  stay  white  when 
exposed  to  light.  In  other  words,  sunlight  has 
more  of  a tendency  to 
make  the  enamel  whiter 
rather  than  to  turn  its 
color. 

A finer  tribute  to  the 
durability  of  Old  Dutch 
Enamel  would  be  difficult 
to  find  than  that  volun- 
tarily written  to  The  Sher- 
win-Williams Company  by 
Mr.  F.  W.  Puckey,  of  the 
architectural  firm  of  Puck- 
ey & Jenkins,  Chicago. 

“For  three  years  I have 
been  repainting  golf  balls 
with  your  Old  Dutch  En- 
amel. It  stands  up  better 
than  the  enamel  on  new 
balls.  This  superiority  is 
so  pronounced  that  several 
‘pros’  of  my  acquaintance 
have  adopted  it  for  re- 
painting golf  balls  to  sell. 
“/  believe  that  the  impact  of  the  club 
against  the  resilient  and  yielding  surface, 
and  the  grinding  fall  on  sandy  or  gritty 
ground  give  a more  severe  test  to  an  enamel 
than  any  use  in  a building." 


Uses 


Old  Dutch  Enamel  is  primarily  intended  for 
the  finishing  of  interior  trim,  but  due  to  its  ex- 
ceptional durability,  it  can  be  used  for  exterior 
enamel  work  (see  photograph  of  residence  of  J. 
Rudy  Smith,  page  19).  Old  Dutch  Enamel  is 
also  ideal  for  the  enameling  of  walls  of  baths, 
lavatories,  kitchens  and  pantries.  It  is  highly 
resistant  to  moisture  and  steam,  which  particu- 
larly fits  it  for  use  in  rooms  where  moisture  is 
present. 


Old  Dutch  Enamel  is  frequently  used  in  man- 
ufacturing plants  where  cleanliness  is  particu- 
larly required.  It  was  selected  after  a careful 
test  by  The  Russell-Miller  Milling  Company  of 
Minneapolis,  who  are  manufacturers  of  Occi- 
dent Flour,  for  enameling  the  walls,  ceilings  and 
equipment  of  their  Minneapolis  “B”  mill.  Old 
Dutch  Enamel  is  ideal  for  use  in  buildings 
of  all  types,  including  residences,  apartments, 
hotels,  theatres,  churches,  hospitals  and  schools. 


Page  eleven 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


Designed  and  Built  by  Fred  E.  French  Co., 
New  York  City 


Robert  E.  Mackay.  Painting  Contractor, 
New  York  City 


Apartment  at  72nd  Street  and  Fifth  Avenue,  New  York  City,  Overlooking  Central  Park 

Finished  throughout  with  Sherwin-Williams  Old  Dutch  Enamel 


Pa^e  twelve 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


Application 


The  capacity  and  covering  qualities  of  Old 
Dutch  Enamel  make  it  possible  to  secure  a re- 
markable finish  with  this  enamel  with  the 
minimum  number  of  coats.  It  is  generally 
recommended  that  five  coats  be  used  in  secur- 
ing an  enamel  finish  on  interior  trim,  three  of 
these  coats  consisting  of  a high  grade  of  under- 
coater,  the  fourth  coat  consisting  of  one-half 
Old  Dutch  Enamel  and  one-half  undercoater 
thoroughly  mixed  together,  and  the  fifth  coat 
being  a full  flowing  coat  of  Old  Dutch  Enamel. 

For  work  of  an  exceptional  quality,  a sixth 
coat  consisting  of  Old  Dutch  Enamel  can  be 
specified  where  desired,  although  it  is  difficult 
to  improve  to  any  considerable  degree  on  the 
beauty  of  the  five-coat  job. 

The  beauty  of  an  enamel  finish  is  dependent 
to  a considerable  degree  upon  the  undercoats. 
That  the  right  kind  of  enamel  undercoater 


should  be  used  in  building  up  a proper  founda- 
tion for  the  application  of  Old  Dutch  Enamel  is 
quite  important.  The  Sherwin-Williams  Com- 
pany strongly  recommends  the  use  of  Sherwin- 
Williams  Flat-Rite  Undercoater  for  this  purpose. 

Flat-Rite  Undercoater  dries  with  an  extreme- 
ly white,  flat  finish  which  provides  an  ideal 
undercoat.  When  applied  it  levels  exception- 
ally well,  making  extensive  sanding  unneces- 
sary. It  sands  very  easily  without  gumming 
the  sandpaper  and  where  mixed  equal  parts 
with  Old  Dutch  Enamel  for  the  fourth  coat,  it 
combines  with  that  enamel  in  an  ideal  manner. 

It  is  well  to  mention  here  that  when  brush 
marks  appear  in  the  undercoater,  or  the  under- 
coater is  scratched  by  the  use  of  coarse  sand- 
paper, these  defects  are  readily  visible  after  the 
enamel  coats  are  applied,  regardless  of  what 
type  of  enamel  may  be  used. 


Types  of  Finish 


There  are  three  types  of  finish 
possible  with  Old  Dutch  Enamel, 
namely,  the  beautiful,  full-bodied 
gloss  finish  for  which  Old  Dutch 
Enamel  is  particularly  noted;  the 
exquisite,  dull  satiny  effect  ob- 
tained by  rubbing  the  gloss  finish 
of  the  Old  Dutch  Enamel  down 
with  powdered  pumice-stone  and 
water;  and  the  dull  effect  which  is 
produced  by  using  Old  Dutch 
Enamel,  Dull  Finish.  This  latter 
finish  closely  approximates  the  gen- 
uine rubbed  effect.  Where  a 
slightly  duller  finish  is  desired,  this 
can  be  secured  by  adding  Sherwin- 
Williams  Flat-Rite  Enamel  Under- 
coater in  the  proportion  which  will 
produce  the  dull  effect  which  is  de- 
sired. Exact  proportions  cannot 
be  given  herein  on  account  of  the 
fact  that  what  one  person  might 
consider  a dull  finish,  another 
might  consider  an  egg-shell  finish. 


John  A.  Nyden.  Architect,  Chicago  Theo.  Ebert  & Co..  Painting  Contractors.  Chicago 

Melrose  Apartment  Hotel,  Chicago,  111. 


Page  thirteen 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


First  Church  Christ  Scientist,  Lakewood,  Ohio 


Finished  with  Sherwin-Williams  Old  Dutch  Enamel 


Paie  fourteen 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


which  is  suppoed  to  have  more  gloss  than  a 
truly  dull  finish.  Where  the  genuine  rubbed 
effect  is  desired,  no  enamel  can  be  found  which 
will  accept  the  rubbed  finish  more  evenly  and 


beautifully  than  Old  Dutch  Enamel.  This 
enamel  is  so  formulated  as  to  permit  rubbing 
within  a reasonable  length  of  time  after  the 
application  of  the  final  enamel  coat. 


Colors 


Old  Dutch  Enamel  is  manufactured  in  white, 
in  both  the  gloss  and  dull  finishes,  as  well  as  in 
the  beautiful  tints  of  ivory  white  and  French 
gray,  in  both  the  gloss  and  dull  finishes.  Other 
shades  of  Old  Dutch  Enamel  are  easily  procur- 
able by  tinting  with  Sherwin-Williams  First 
Quality  Oil  Colors,  which  makes  a choice  of 
hundreds  of  shades  available  for  the  architect. 
Where  the  quantity  of  Old  Dutch  Enamel  re- 
quired for  any  operation  amounts  to  100  gallons 
or  over.  The  Sherwin-Williams  Company  will 


gladly  make  a special  run  of  Old  Dutch  Enamel 
to  match  any  special  shade  submitted  by  an 
architect. 

In  tinting  Old  Dutch  Enamel  with  Sherwin- 
Williams  First  Quality  Oil  Colors,  the  color 
should  be  added  to  a small  amount  of  the  enamel 
which,  after  thoroughly  mixing,  should  be 
added  to  the  rest  of  the  enamel,  a little  at  a 
time,  until  the  desired  tint  is  obtained.  Where 
the  enamel  is  tinted,  the  undercoater  also  should 
be  tinted  to  a similar  color. 


Great  Lakes  Construction  Co..  Contractors, 
Chicago,  III. 


Edgar  D.  Martin.  State  Architect, 
Springfield.  Ohio 


Elgin  State  Hospital,  Elgin,  111. 

Finished  with  Sherwin-Williams  Old  Dutch  Enamel 


Pa^e  fifteen 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


Pa^e  sixteen 


kw  Westchester-Biltmore  Country  Club,  Rye,  N.  Y.  '^NlwYo°rkandChf«gT^ 

Finished  with  Sherwin-Williams  Old  Dutch  Enamel 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


(loverin^  Clapacitv 

Sherwin-Williams  Old  Dutch  Enamel  has  a be  supplied  upon  special  order  in  five-j^allon 
covering  capacity  of  approximately  three  hun-  packages  where  required.  This  size,  however, 
dred  fifty  square  feet,  one  coat,  to  the  gallon.  is  not  recommended  unless  a large  force  of 
It  is  regularly  put  up  in  gallon,  and  half-gallon  painters  is  applying  the  enamel  at  one  time,  and 
special  lithographed,  sealed  cans.  It  can  also  use  quantities  of  enamel  in  a short  time. 

Specifications 


Old  Dutch  Enamel  Finish  on 

Preparation:  Before  proceeding  with  the 
work,  the  contractor  shall  make  sure  that  the 
surface  to  be  finished  is  perfectly  dry  and  free 
from  dust  and  dirt. 

First  coat:  Sherwin-Williams  Flat-Rite 
Enamel  Undercoater,  thinned  with  pure  linseed 
oil  ill  the  proportion  of  one  pint  of  oil  to  one 
gallon  of  undercoater.  When  dry,  sand  thor- 
oughly with  No.  0 sandpaper  and  apply  a thin 
coat  pure  white  shellac.  Sand  again  before 
applying  next  coat. 

Second  coat:  Sherwin-Williams  Flat-Rite 
Enamel  Undercoater  in  the  consistency  sup- 
plied by  the  manufacturer.  When  dry,  sand 
with  No.  0 sandpaper. 

Third  coat:  Sherwin-Williams  Flat-Rite 
Enamel  Undercoater.  When  dry,  sand  care- 
fully to  smooth  surface  with  No.  0000  sand- 
paper. 

Fourth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  mixed  equal  parts  with  Sherwin-Wil- 
liams Flat-Rite  Undercoater.  When  dry,  sand 
lightly  with  No.  0000  sandpaper. 


New  Interior  Wood  I’rim 

Fifth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  applied  in  the  consistency  supplied  by 
the  manufacturer.  Rubbed  finish:  Where  de- 
sired, the  final  coat  of  Old  Dutch  Enamel,  when 
sufficiently  hard,  shall  be  rubbed  to  a dull  finish 
with  powdered  pumice-stone  and  water. 

Imitation  rubbed  finish:  Where  the  archi- 
tect does  not  care  to  go  to  the  expense  of  rub- 
bing the  final  enamel  coat.  Old  Dutch  Enamel 
Dull  Finish  can  be  substituted  for  fifth  coat 
as  specified  above. 

Note  No.  1:  On  open  grain  woods,  such  as 
oak,  walnut  and  chestnut,  the  first  coat  of  the 
above  specification  should  be  changed  so  as  to 
call  for  one  coat  of  Sherwin-Williams  Trans- 
parent Paste  Filler,  wiping  off  surplus  filler 
before  same  has  become  set  on  the  surface. 
Follow  with  a thin  coat  of  pure  white  shellac 
and  sand  with  No.  0 sandpaper  before  applying 
coat  No.  2 as  specified  above. 

Note  No.  2:  Where  expense  is  a consideration, 
the  third  coat  as  specified  above  may  be  omit- 
ted. 


Old  Dutch  Enamel  F'inish  on  Previously  Finished  Interior  Trim 


Preparation : The  surface  to  be  refinished 
shall  be  thoroughly  cleaned,  preferably  with 
Sherwin-Williams  Flaxoap  (pure  linseed  oil 
soap)  and  warm  water.  When  dry,  thoroughly 
sand  with  No.  0 sandpaper  to  remove  any  gloss 
which  may  be  on  the  old  finish. 

First  coat:  Sherwin-Williams  Flat-Rite 
Enamel  Undercoater  thinned  with  pure  turpen- 
tine in  the  proportion  of  one  pint  of  turpentine 
to  one  gallon  of  the  undercoater.  When  dry, 
sand  with  No.  0 sandpaper. 

Second  coat:  Sherwin-Williams  Flat-Rite 


Enamel  Undercoater  in  the  consistency  sup- 
plied by  the  manufacturer.  When  dry,  sand 
smooth  with  No.  0000  sandpaper. 

Third  coat:  Sherwin-Williams  Old  Dutch 
Enamel  and  Flat-Rite  Enamel  Undtrcoater 
mixed  equal  parts.  When  dry,  sand  lightly  with 
No.  0000  sandpaper. 

Fourth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  gloss  or  dull  finish.: 

Note:  Where  expense  is  a consideration, 
third  coat  may  be  omitted. 


Pa^e  seventeen 


Page  eighteen 


Gordon  fit  Kaelber.  Architects,  ^ r'  r>  . ^ 

Rochester.  N.  Y.  Residence  of  S.  F.  Jenkins,  Esq.,  Rochester,  N.  Y.  ^ ^ Rochester  n y® 

Finished  with  Sherwin-Williams  Old  Dutch  Enamel 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


Old  Dutch  Enamel  Einisli  on  New  Plaster  Walls 


First  coat:  Sherwin-Williams  ODP  White 
Lead,  oil  and  turpentine  mixed  in  the  proportion 
of  three  quarts  of  boiled  oil,  three  quarts  of 
turpentine  to  twenty-five  pounds  of  ODP 
White  Lead  with  the  addition  of  a small  amount 
of  drier. 

Second  coat:  Sherwin-Williams  Flat-Tone 
Mixing  Size  mixed  with  Sherwin-Williams 
Flat-Rite  Enamel  Undercoater  in  the  propor- 
tion of  one  quart  of  Flat-Rite  Enamel  Under- 


coater to  one  gallon  of  Flat  Tone  Mixing  Size. 

Third  coat:  Sherwin-Williams  F'Lat  Rite 
Enamel  Undercoater  in  the  consistency  suji 
plied  by  the  manufacturer. 

Fourth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  and  Flat-Rite  Enamel  Undercoater 
mixed  equal  parts.  Sand  lightly  when  drw 

Fifth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  in  the  consistency  supplied  by  the 
manufacturer. 


Thompson  fit  Harding,  Architects,  Rexer  & Dempsey.  Painting  Cf  i:';; 

Little  Rock,  Ark.  Little  Rc^  k.  . 

Residence  of  J.  Rudy  Smith,  Esq.,  Little  Rock.  Ark. 

OJd  Dutch  Enamel,  being  adapted  to  exterior  use  quite  as  well  as  for  interior  trim,  lear  w-'  d on 
pillars  of  the  above  residence  as  well  as  throughout  the  interior 


Pa  ie  nnr-trp 


ENAMEL  FINISH  ON  INTERIOR  AND  EXTERIOR  TRIM 


C.  E.  Kountz.  Architect. 
Hagerstown.  Md. 


J.  B McC.  Wolf.  Contractor. 
Hagerstown,  Md. 


Hagerstown  and  Washington  County  Y.  M.  C.  A.  Building,  Hagerstown,  Md. 

Finished  with  Sherwin-Williams  Old  Dutch  Enamel 


Old  Dutch  Enamel  Finish  on  New  Exterior  Woodwork 


Preparation:  The  contractor  shall  deter- 
mine through  careful  inspection  that  the  sur- 
face to  be  finished  is  dry  and  in  proper  condition 
for  finishing.  Before  the  priming  coat  is  ap- 
plied, all  knots  and  pitchy  places  shall  be  given 
a coat  of  pure  orange  shellac. 

First  coat:  Sherwin-Williams  ODP  White 
Lead,  mixed  with  pure  raw  linseed  oil,  turpen- 
tine and  a small  amount  of  drier,  the  oil  and 
turpentine  being  in  the  proportion  of  one  pint 
of  turpentine  to  one  gallon  of  oil. 

Second  coat:  Sherwin-Williams  ODP  White 
Lead,  mixed  with  pure  linseed  oil  and  turpen- 
tine together  with  a small  amount  of  drier,  in 
the  proportion  of  one  gallon  of  turpentine  to 
one  gallon  of  oil. 

Third  coat:  Sherwin-Williams  ODP  White 
Lead,  mixed  with  turpentine  and  a small  amount 
of  drier,  with  little  or  no  linseed  oil  added. 


Fourth  coat:  Sherwin-Williams  Old  Dutch 
Enamel  Gloss,  thinned  in  the  proportion  of  one 
pint  of  turpentine  to  one  gallon  of  enamel. 

Fifth  coat:  This  coat  shall  be  applied  as 
soon  as  the  fourth  coat  is  sufficiently  dry  to  per- 
mit brushing  over  same  safely.  If  the  fourth 
coat  becomes  quite  hard  before  the  fifth  is  ap- 
plied, the  fourth  coat  shall  be  “mossed”  before 
the  fifth  coat  is  flowed  on.  The  fifth  coat  or 
final  enamel  coat  shall  consist  of  Sherwin-Wil- 
liams Old  Dutch  Enamel  in  the  consistency  sup- 
plied by  the  manufacturer. 

Note  No.  1:  Where  a fine  finish  is  desired, 
the  first  and  second  coats  shall  be  sanded  to  a 
smooth  surface  with  No.  0 sandpaper.  The 
third  coat  shall  be  sanded  smooth  with  No.  0000 
sandpaper. 

Note  No.  2:  Sherwin-Williams  Old 

Dutch  Enamel  Dull  Finish  is  not  designed 
for  exterior  use.  Old  Dutch  Enamel  Gloss 
only  is  recommended  for  exterior  exposure. 


Page  twenty 


S1924-E23-825 


PROFESSIONAL  BU  1.1, E l IX 

I'or  Architc'cts  and  l 

On  the  Subject  of 

Painting  and  Finishing 

ISSUED  BY 

DEPARTMENT  OF  ARCHITECTURAL  SERVICE 

The  Sherwin-Williams  Co. 

CLEVELAND.  OHIO 


NO.  3 


KDi  i 1:1)  in  A.  n.  lu  n r 


VOL. 


1 


Painting  and  Decorating  of  Interior  \\  alls 


Materials  employed  for  the  decoration  of 
interior  walls  can  be  considered  under  three 
classifications,  namely,  oil  paints,  water  paints 
and  wall  coverings,  such  as  wall-paper,  burlap, 
tapestries,  brocades  and  matting.  The  latter 
classification  represents  the  oldest  common 
form  of  wall  decoration,  while  oil  paints  repre- 
sent the  most  modern  form  of  wall  decoration, 
which  is  coming  into  more  general  use  each  year. 

Walls  and  ceilings  decorated  with  oil  flat  wall 
paint  are  becoming  increasingly  more  apparent 
in  hotels,  clubs  and  better  type  of  residences, 
while  in  office  buildings,  schools,  theatres,  audi- 
toriums and  hospitals  the  older  form  of  wall 
decoration  has  long  since  given  v/ay  to  oil 
paints. 

Sherwin-Williams  Flat-Tone  Wall  Finish,  a 
washable  oil  paint  which  dries  with  a velvety, 
flat  finish  of  exquisite  visual  texture,  was  a 
pioneer  of  the  modern  form  of  wall  and  ceiling 
decoration.  Today  it  is  probably  the  best 
known  flat  wall  finish  in  the  world.  It  will  be 
found  adorning  not  only  the  walls  of  thousands 
upon  thousands  of  buildings  in  this  country, 
but  the  better  class  of  buildings  in  Canada, 
Mexico,  Philippine  Islands,  China,  Australia, 
England  and  the  Argentine. 

The  cause  for  the  vast  popularity  of  Flat-Tone 
is  apparent  to  anyone  who  has  had  any  exper- 
ience with  this  remarkable  flat  wall  finish.  Its 


To  be  filed  in  binder  provided  for  purpose 


beauty  of  finish  is  probably  its  leading  charac- 
teristic, but  of  almost  equal  importance  is  its 
high  degree  of  washahility , its  durability , its 
sanitary  qualities  and  its  economy.  Then 
there  are  the  mechanical  qualities  which  are 
best  appreciated  by  the  painter  who  applies 
Flat-Tone,  such  as  its  ease  of  application,  tre 
mendous  hiding  power,  leveling  free  from  brush 
marks  and  quickness  of  drying. 

The  economy  of  Flat-Tone  over  other  oil  wall 
paints  is  due  to  its  remarkable  opacity  or  hiding 
power  and  to  the  elimination  of  a separate 
sizing  coat  on  new  plaster  walls.  This  latter 
feature  is  a most  important  item,  because  the 
major  part  of  the  cost  of  painting  is  the  labor 
required  in  applying  the  materials.  Instead  <>f 
requiring  a separate  sizing  coat,  a special  mixing 
size  has  been  developed  for  Sherwin-Williams 
Flat-Tone  which  is  mixed  equal  parts  with 
Flat-Tone  and  this  mixture  is  used  as  a combina- 
tion sizing  and  first  color  coat. 

While  The  Sherwin-Williams  Comjiany  always 
recommends  the  use  of  three  coats  of  Flat  Tone 
on  new  work,  it  is  frequently  possible  to  secure 
a beautiful  finish  with  two  coats  of  Flat  Tone 
where  the  darker  tints  are  employed.  Contrast 
this  with  the  number  of  coats,  includc'c  the 
sizing  coat,  required  to  secure  propi-r  ■ - nng 

where  walls  and  ceilings  are  painted  v.  'h  ’■  ■ : 
mixed  lead  and  oil  paints. 


win-^Vilhanis  Co 


Copyright . 1923.  The  Sher 


-■n 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Benjamin  Wistar  Morris,  Architect 
New  York  City 

Carrere  & Hastings,  Consulting  Architects. 
New  York  City 


Todd.  Irons  & Robertson.  Inc.,  General  Contractors, 
New  York  City 

Shatz  Painting  Co..  Painting  Contractors. 
New  York  City 


The  Cunard  Building,  New  York  City 

Finished  with  Sherwin-Williams  Flat-Tone 


Pa^e  twenty-two 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


(Miaracteristics  of  Flat-'roiie 


Flat-Tone  is  a paint  of  the  lithopone  type  and 
is  largely  responsible  for  the  great  popularity 
to  which  lithopone  paints  of  all  types  have 
fallen  heir.  The  lithopone  used  in  Flat-Tone 
is  of  Sherwin-Williams  manufacture,  as  is  true 
of  all  of  the  important  ingredients  used  in  the 
manufacture  of  Sherwin-Williams  Architectural 
Paints  and  Finishes.  Its  colors  are  as  strictly 
non-fading  as  Science  has  been  able  to  produce, 
while  the  remarkable  range  of  tints  and  shades 
which  comprise  the  Flat-Tone  line  of  standard 
colors  shown  on  page  37  of  this  bulletin,  offer 
the  most  exceptional  variety  of  tints  to  be  found 
in  wall  paints  of  any  competitive  manufacturer. 

A certain  percentage  of  flat  drying  oil  varnish 
is  used  in  Flat-Tone,  which  helps  to  produce  the 
velvet-like  effect  of  the  Flat-Tone  finish,  and 
which  also  contributes  largely  to  the  high 
washability  of  Flat-Tone. 

One  of  the  outstanding  characteristics  of  Flat- 
Tone  is  its  fineness  of  grinding,  which  results  in 
the  beautiful  uniform  flat  finish  for  which  this 
product  is  famous.  On  page  26  of  this  bulletin, 
a microscopic  photograph  of  a film  of  Flat-Tone 
is  reproduced  which  magnifies  the  surface  fifty 
diameters.  Observe  the  complete  absence  of 
grittiness  and  pores. 

The  length  of  life  of  Flat-Tone  is  gauged  in 
terms  of  years.  It  is  difficult  to  state  the  exact 
length  of  the  life  of  this  flat  wall  finish  because 
walls  finished  with  this  material  are  usually 


repainted  after  the  Flat -Tone  has  been  (jii  the 
walls  four  or  five  years,  for  the  puri)ose  of  cluing 
ing  the  color  scheme  or  freshening  the  appear 
ance  of  the  interior.  It  is  significant,  however, 
that  Flat-Tone  walls  are  usually  refinished  with 
Flat-Tone  and  not  other  fiat  wall  finishes,  of 
which  there  are  scores  on  the  market. 

The  durability  and  washability  of  Flat  Tone, 
together  with  its  tendency  to  retain  its  high 
light  reflecting  qualities  to  a greater  degree 
than  is  true  of  water  paints  and  calcimine- 
renders  the  cost  of  Flat-Tone  in  the  long  run  no 
more  than  that  of  ordinary  calcimine  on  account 
of  its  power  to  easily  outwear  several  coats  of 
such  material. 

While  paint  is  seldom  associated  with  the  idea 
of  illumination  by  the  layman,  the  architect 
and  engineer  is  yearly  becoming  more  cognizant 
of  the  relation  borne  by  the  type  and  color  of 
paints  used  on  interior  walls  to  the  resultant 
illumination  of  a room.  Illuminating  engineers 
demonstrate  that  a flat  wall  finish  has  a higher 
light  diffusing  efficiency  than  paints  of  other 
types.  It  has  been  demonstrated  that  Flat- 
Tone  Wall  Finish  tends  to  diffuse  light  more 
efficiently  than  a gloss  paint  and  without  the 
specular  reflection  or  glare  so  conducive  to  eye 
strain,  which  has  made  paints  even  apiiroaching 
a gloss  so  unpopular  for  use  in  the  office,  library, 
school  room  or  hospital.  More  will  be  said 
hereinafter  on  this  subject. 


Uses 


Flat-Tone  can  be  applied  with  equal  effective- 
ness to  plaster,  wallboard,  metal,  wood,  brick 
or  Keene’s  Cement.  It  is  primarily  a finish  for 
interior  walls  and  ceilings.  Flat-Tone  is  not 
designed  for  exterior  use. 


Flat-Tone  is  only  intended  for  interior  dec<i- 
ration.  It  may  be  used  with  equal  satisfaction 
for  decorating  the  interior  walls  and  ceilings  of 
residences,  clubs,  libraries,  hotels,  theatres,  Iv-- 
pitals,  schools  and  office  buildings. 


For  painting  exterior  concrete,  stucco  or  brick  work,  specify  SWP  Flat  White  Sherwin-Wd 

walls,  Sherwin-Williams  Concrete  Wall  Finish,  liams  Paint  Prepared  . which  will  be  fullN 

described  in  Bulletin  No.  1 of  this  series,  is  rec-  described  in  a future  bulletin, 
ommended.  For  a flat  finish  on  exterior  wood- 


Psgp  fu  en 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Right:  Typical  corridor  in  the 
Humble  Oil  Building, 
Houston,  Texas. 

Below:  Section  of  the  Board 
Room,  The  Humble 
Oil  Co. 


Finished  with  Sherwin-Willianis 
Flat-Tone 


Clinton  & Russell,  Architects 
New  York  City 

J.  C.  O’Connell  Painting  Co., 
Painting  Contractors. 

St.  Louis 


Page  twenty-four 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Relation  of  Flat- l one  to  Lij^htin^  Ffficieney 


No  reflecting  surface  can  add  to  the  light  it 
reflects ; there  is  merely  the  question  of  how  much 
light  is  absorbed.  The  ceiling  and  wall  surfaces 
in  a room  are  secondary  sources  of  light  receiv- 
ing and  reflecting  light  from  the  lamps  and 
for  this  reason,  careful  consideration  should  be 
given  to  the  matter  of  selection  of  colors  to  be 
used  as  well  as  the  type  of  paint  to  be  employed 
in  finishing  the  walls  and  ceilings. 

Generally  speaking,  the  darker  the  tint  of  the 
paint  used  on  walls  and  ceilings,  the  greater  is 
the  absorption  of  light  and  the  smaller  the 
degree  of  light  reflection.  Under  each  of  the 
Flat-Tone  color  chips  shown  on  page  37,  the 
reflection  factor  of  that  particular  shade  is 
indicated.*  In  other  words,  light  falling  on 
surfaces  painted  with  these  shades  will  be  re- 
flected to  the  extent  indicated  by  the  percentage 
shown  under  the  color  chip,  the  difference  being 
absorbed  by  the  paint  as  the  light  strikes  it. 

In  an  article  on  the  subject  “The  Lighting  of 
Buildings,”  which  appeared  on  page  227  of  the 
May,  1919,  issue  of  the  Journal  of  American 
Institute  of  Architects,  the  following  interesting 
statements  regarding  the  influence  of  wall  and 
ceiling  colors  upon  the  effectiveness  of  indirect 
and  semi-indirect  lighting  units  were  made: 

“This  question  of  painting  is  obviously  one 
which  should  receive  the  most  careful  attention 
of  every  architect  when  specifying  the  interior 
finishes  in  buildings  used  for  commercial  pur- 
poses, and  where  the  cost  of  operation  is  a 
material  factor.  In  one  very  large  office  build- 
ing, the  suggested  change  from  light  buff-tinted 
ceilings  and  dark  buff-tinted  walls  to  the  kind 
of  treatment  suggested  above  would  have  saved 
in  energy  consumption  for  light  about  $14,000  a 
year.  Under  these  conditions  it  would  obviously 
pay  to  use  a paint  that  can  be  thoroughly 
cleaned  without  injury  to  pay  the  cost  of  clean- 
ing at  least  once  every  six  months 

“Since  all  but  a comparatively  small  por- 
tion of  the  light  emitted  by  lamps  is  initially 

*AcknowIedgement  is  made  of  the  valuable  service  rendered  by  the 
Laboratory  of  Applied  Science.  National  Lamp  Works,  of  The  General 
Electric  Company,  Cleveland,  in  making  reflection  factor  tests  of 
Flat-Tone  colors  shown  on  page  37. 


received  on  the  ceiling,  any  reduction  of  tin 
reflection  factor  of  the  ceiling  means  a 
corresponding  increase  in  the  number  of 
lumens  that  the  lamps  must  emit.  A 
change  in  this  reflection  factor  from  50'  , . . , 
to  70'  , ...  means  an  increase  in  illumination  on 
the  working  surface  in  the  room  of  nearly  50'  , 
if  the  treatment  of  the  wall  surface  shows  a 
reflection  factor  of  not  less  than  50'  , . It  is 
not  too  much  to  say  that  the  selection  of  the 
wall  and  ceiling  coatings  is  more  important  than 
the  selection  of  any  particular  type  of  reflector 
equipment  on  the  lamp.” 

The  reflection  factor  of  the  ceiling  and  of  the 
upper  portions  of  the  walls  is,  of  course,  of 
greater  importance  where  lighting  units  of  the 
type  which  direct  the  light  upward  arc  used 
than  where  the  lighting  equipment  itself  directs 
the  light  strongly  downward.  Even  in  the  latter 
case,  however,  as,  for  example,  where  steel 
reflectors  are  used  in  a factory,  a light  finish  on 
the  ceiling  and  high  side  walls  greatly  improves 
the  illumination;  brightness  contrast  between 
the  units  and  their  background  is  reduced,  the 
interior  appears  larger  and  much  more  cheerful, 
and  the  diffusely  reflected  light  softens  shadows 
and  makes  vision  quicker  and  surer. 

Due  to  the  fact  that  the  reflection  factor  of 
the  ceiling  and  high  side  walls  exerts  so  jiowerful 
an  effect  upon  the  illumination,  it  is  important 
to  see  that  these  areas  are  finished  in  as  light 
a color  as  practicable.  Pure  white  is  to  be  pre- 
ferred from  the  viewpoint  of  lighting  efficiency. 
Frequently  ceilings  and  the  upper  portions  of 
the  walls  are  finished  in  white  while  the  lower 
walls  are  finished  in  a light  brown,  gray,  buff,  or 
soft  green  to  give  warmth  to  the  lighting;  the 
color  of  the  lower  w'all  areas  has  no  appreciable 
effect  upon  either  the  color  quality  or  the  quan- 
tity of  illumination.  In  many  cases,  where  even 
greater  warmth  is  desired,  a light  tint,  such  as 
Flat-Tone  Ivory  or  Ivory  White,  is  particularly 
suitable  as  a ceiling  finish. 

Where  so-called  daylight  lamps  are  used  in 
commercial  establishments  or  in  industrial 
plants  for  the  purpose  of  supplying  light  more 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


nearly  white  than  that  obtained  from  clear-bulb 
lamps,  any  finish  other  than  pure  white  for  the 
ceiling  and  high  side  walls  defeats  the  purpose 
for  which  the  lamps  were  chosen,  namely,  to 
provide  a light  which  is  as  white  as  practicable. 

It  would  be  diffi- 
cult to  lay  out  a 
definite  set  of  rules 
for  selecting  color 
combinations  for  the 
decoration  of  interior 
walls  and  ceilings,  be- 
cause different  classes 
of  buildings  require 
different  treatments 
and  even  many  rooms 
in  rhe  same  building 
shou'  ’ receive  special 
consideration,  but  if 
the  architect  or  en- 
gineer will  bear  in 
mind  the  importance 
of  selecting  colors  as 
near  as  possible 
with  their  light  reflecting  values  in  mind  and 
refer  to  the  page  of  Flat-Tone  color  samples 
showing  the  light  reflection  values  of  those 


colors,  much  can  be  acomplished  in  improv- 
ing the  lighting  efficiency. 

To  those  architects  who  are  interested  in 
securing  suggestive  elevations  for  the  treatment 
of  interior  walls  and  ceilings,  The  Sherwin- 

Williams  Company 
extends  a cordial  in- 
vitation to  make  use 
of  the  service  ren- 
dered by  its  Depart- 
ment of  Decoration. 
This  is  a sales  ser- 
vice for  which  there 
is  no  charge  and  does 
not  obligate  the  archi- 
tect to  use  Flat-Tone 
unless  he  so  chooses. 
Merely  forward  a set 
of  blue  prints  and 
specifications  for  the 
guidance  of  our  decor- 
ative experts,  who 
will  return  them  with 
their  suggestions  for 
the  most  suitable  scheme  of  decoration,  from 
the  standpoint  not  only  of  lighting  efficiency, 
but  color  harmony  and  beauty  as  well. 


Sherwin-Williams  Flat-Tone  magnified  50  diameters,  vertical 
illumination.  Photograph  made  by  the  Electrical  Testing  Lab- 
oratories. New  York  City.  Note  the  fineness  of  grinding  and 
general  uniformity  which  is  apparent 


Psychology  of  Color 


It  seems  a far  cry  from  the  color  of  the  walls 
and  ceiling  of  the  room  in  which  you  are  sitting 
to  the  state  of  your  mind;  nevertheless  scientists 
tell  us  that  color  wields  a subtle  yet  powerful 
influence  in  our  lives.  Scientiflc  investigations 
which  have  been  made  of  the  effects  of  different 
colored  interior  surfaces  on  the  human  tempera- 
ment, suggest  that  much  benefit  will  result  from 
giving  consideration  to  the  mental  states  induced 
by  various  colors  used  in  decoration,  regardless 
of  whether  it  be  in  the  home,  the  office,  the 
hospital,  the  school,  the  store  or  the  theatre. 

One  experiment  is  recorded  which  was  con- 
ducted by  a physician,  with  students  as  subjects. 
The  students  were  placed  in  rooms  decorated 
with  various  colors,  and  their  re-actions  led  to 
the  following  conclusions;  That  black  induced 


melancholia  and  decreased  capacity  for  work; 
that  red  produced  temporary  stimulation  which 
was  followed  by  a re-action  accompanied  by 
nervousness  and  headache;  that  blue  caused  a 
state  of  calmness  and  seriousness;  green  brought 
on  an  increase  in  vitality  and  augmented  cheer- 
fulness; yellow  also  increased  vitality  and  in- 
duced amiability. 

These  findings  are  of  the  utmost  interest  to 
architects  who  choose  the  color  schemes  for 
interior  walls  of  public  buildings,  libraries,  hos- 
pitals and  many  other  types  of  buildings.  Nat- 
urally the  lighter  tints  of  the  colors  mentioned 
are  more  desirable,  not  only  on  account  of  the 
re-action  on  the  human  mind,  but  from  the 
standpoint  of  light  reflection,  which  is  greater 
from  lighter  tints,  as  has  already  been  shown. 


Pa^e  twenty-six 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


■I*. 


□ 


Miller,  Fullenweider  & Dowling,  Architects,  Scarborough  6f.  Davis.  General  Contrat 

Chicago.  III.  Evansvjlle.  Ijxi 

Russ  86  Karges,  Local  Supervising  Architects,  W.  Harry  Wtxxls.  Pamtuig  Confra.  i.  t 

Evansville.  Ind.  Evansville.  Ind 

Administration  Hall,  Evansville  College,  Evansville,  Ind. 


Finished  with  Sherwin-Williams  Flat-Tone 


As  a rule  when  one  thinks  of  the  operating 
room  in  a hospital,  a vision  of  dazzling  white 
and  glare  from  highly  enameled  wall  surfaces 
presents  itself,  but  in  the  modern  hospital 
the  tendency  is  more  and  more  toward  the  use 
of  a paint  like  Flat-Tone  in  this  type  of  room. 
A prominent  Pacific  Coast  doctor  maintains 
that  much  better  results  can  be  obtained,  both 
by  the  surgeon  and  the  patient,  in  operating 
rooms  where  the  walls  are  painted  green  to  a 
height  of  six  feet,  a white  or  light  upper  wall  and 
a bright  buff  ceiling.  Many  a surgeon  has 
experienced  discomfort  on  looking  up  for  a 
moment  from  the  wound  on  which  he  has  been 
working,  to  encounter  a glare  of  light  which 
rendered  his  eyes  useless  for  a few  moments 


when  he  looked  back  into  the  less  illuminated 
wound. 

The  application  of  the  principles  of  the 
psychology  of  color  is  of  more  imiiortance  in 
selecting  suitable  color  schemes  for  the  interior 
walls  and  ceilings  of  hospitals  than  perhajis 
any  other  single  type  of  building.  In  a very 
interesting  article  on  the  subject.  “Color  in 
the  Modern  Hospital,"  hy  Wm.  O.  Ludlow  of 
Ludlow  & Peabody,  Architects.  New  York 
City,  w’hich  appeared  a few  months  ago  in  The 
Modern  Hospital  Magazine,  the  following  state- 
ment IS  made: 

“White  is  negative:  the  convalescent  :u  ( d- 
the  therapeutic  re-action  of  the  positive  colors 


I 

Pa(L^ 


I 


PAINTING  AND  DECORA  TING  OF  INTERIOR  WALLS 


C 0 


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Pa^e  twenty-ei^ht 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


that  nature  has  spread  so  lavishly  for  her 
children.  . . . Our  eyes  are  made  to  find 

rest  and  contentment  in  soft  greens,  pale  blues 
and  an  occasional  touch  of  red,  and  above  all, 
in  the  glorious  golden  yellow  of  the  sunshine. 

“White  is  the  winter  color  -dazzling  and 
brilliant — and  is  somehow  reminiscent  of  win- 
ter’s cold  and  cheerlessness.  Let  us  then  cover 
our  hospital  walls  with  color,  selecting  those 
that  give  warmth  and  quiet  and  that  gentle 


stimulation  that  helps  the  i)atient  along  ihe 
road  to  recovery.’’ 

In  selecting  colors  for  rooms  with  northern 
and  eastern  exposure,  colors  possessing  warmth 
and  a reasonably  high  light -reflecting  factor 
should  be  used,  while  rooms  of  western  and 
southern  exposure  may  have  the  cooler  colors, 
such  as  grays,  greens  and  blues.  This  principle 
applies  to  all  classes  of  buildings,  whether 
hospitals,  schools,  public  buildings  or  residences 


Flat-Tone  as  an  Aid  to  Proper  Acoustic  (;]onditions 


In  a very  interesting  paper*  presented  before 
the  International  Association  of  Master  Painters 
and  Decorators,  Kansas  City,  Mo,,  February, 
1922,  on  the  subject  of  “Paint  as  an  Aid  to 
Acoustic  Conditions,”  some  very  important 
data  was  given  on  the  sound-absorbing  qualities 
of  oil  flat  wall  paints  of  the  lithopone  type, 
such  as  Sherwin-Williams  Flat-Tone,  The 
following  extract  from  the  paper  in  question 
illustrates  how  Sherwin-Williams  Flat-Tone  can 
fill  another  important  mission  aside  from  its 
important  qualities  as  a beautifying  agent  and 
aid  to  efficient  light  diffusion: 

“In  order  to  get  at  least  an  approximation  of 
the  sound-absorbing  properties  of  paint,  a 
series  of  tests  was  made  by  one  of  the  writers, 
using  a specially  constructed  cylinder,  three 
feet  long  and  one  foot  in  diameter,  placed  hori- 
zontally on  a wooden  base.  In  the  center  of  the 
cylinder  a watch  was  suspended.  The  observer 
then  stood  with  one  ear  at  the  open  end  of  the 
cylinder,  and  slowly  moved  away.  The  point 
at  which  he  could  no  longer  hear  the  tick  of  the 
watch  was  marked.  The  cylinder  was  then 
lined  with  coatings  such  as  are  depicted  in  the 
front  part  of  this  paper.  The  results  are  given 
below  as  the  averages  of  several  readings  by 
four  observers. 


Greatest  Distances  from  End  of  the  Cylinder 
at  which  Tick  of  a Watch  Can  be  Heard 
Metal  walk-  „ 40  inches 

Metal  wall  with  sand  finish  paint  (*)  19  inches 

Metal  wall  with  sponge  finish  paint  i ' 18  inches 
Metal  wall  with  cork  finish  paint  + 14  inches 

“It  will  be  noted  from  the  above  results  that 
all  of  the  finishes  reduced  the  carrying  proper!  ies 
of  sound  over  50  per  cent.  The  amount  of 
sound  absorbed  will,  of  course,  depend  upon  the 
thickness  of  the  paint,  the  roughness  of  surface, 
porosity,  and  other  similar  data. 

“A  church  building  that  has  recently  come 
under  our  observation  is  a Greek  classic  type  of 
architecture,  briefly  described  as  four  hemi- 
spherical arches  set  at  right  angles,  topjred  with 
a dome  over  these  arches  used  as  supjxirts. 
When  the  auditorium  was  completed,  its 
acoustical  properties  proved  to  be  ver\-  unsatis- 
factory. A reverberation  or  undue  prolongation 
of  the  sound  existed,  and,  in  addition,  because 
of  the  large  size  of  the  room,  and  form  and 
position  of  the  walls  and  dome,  echoes  were  set 
up.  If  an  observer  stood  on  the  platform  and 
clapped  his  hands,  a veritable  chaos  of  sound 
resulted.  Echoes  were  heard  from  every  direc 
tion,  and  reverberations  continued  for  a number 
of  seconds  before  all  was  still  again  Speakers 
found  their  utterances  thrown  back  at  them,  and 

t •)  San  ] sprayed  up>on  a “tacky  ' priming  ■ -if  :'f  paint  f n’shint 
coats  of  any  color  arc  then  applied. 

Sponge  finish  Heavy  paste  paint  in-nt  -ining  -.n'n'vfnb -■  " '•» 

is  applied.  A sponge  is  then  pre?-"Kl  lightly  ag.-in*-*  ’Vc  -f.  ^ 
quickly  withdrav.*n. 

t’  Cork  finish  Ground  cork  is  pref---d  agptnst  ’ - k-  rr  n.  nt 
coat.  Finishing  coats  of  any  desired  arc  *hcn  appl  '^ 


*By  Henry  A.  Gardner,  Director  of  Educational  Bureau.  Scientific 
Section,  Paint  Manufacturers’  Ass’n.  of  the  U.  S..  and  Wm.  DowTiey  of 
Cleveland,  Ohio,  who  was  consulting  painter  and  decorator  on  the  new 
Cleveland  Public  Auditorium,  in  which  vast  quantities  of  Sheru'in- 
Williams  Flat-Tone  were  used.  See  photographs  pages  30  and  31. 
Architects  specializing  in  theatre,  auditorium,  church,  school  and 
courthouse  work  should  have  a copy  of  the  illustrated  reprint  of  this 
paper,  of  which  there  are  a limited  number  of  copies  available,  which 
will  be  gladly  forwarded  upon  request. 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


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Paie  thirty 


PAINTING  AND  DECORA  TING  OF  INTERIOR  WALLS 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


The  new  Cleveland  Public  Auditorium,  recently 
thrown  open  to  the  public,  was  finished  with  Sher- 
win-Williams Flat-Tone.  It  has  a seating  facility 
for  13,000  people.  One  of  the  main  features  of  the 
Auditorium  is  a pipe  organ  costing  $100,000,  hav- 
ing 10,010  pipes  and  150  direct  speaking  stops. 


Auditorium 


Main  Lobby 
The  Lounge 
Typical  East  ar 
entrances. 
Interior  Exhibi 
Auditorium 


West  Corridor,  balcony 


Hall,  below  Main 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


auditors  all  over  the  house  experienced  difficulty 
in  understanding  what  was  said.  After  the 
decoration  of  the  auditorium  with  a soft  litho- 
pone  flat  wall  paint,  it  was  the  consensus  of 
opinion  that  the  acoustics  has  been  very  ma- 
terially improved. 

“Another  instance  where  we  have  been 
privileged  to  see  the  effect  of  paint  was  in  the 
dining  hall  of  a large  eastern  country  club  hav- 
ing a high  arched  ceiling.  A perfect  babel  of 
voices  prevented  conversation  during  the  dinner 
hour.  The  ceiling  and  walls  were  given  two 


additional  coats  of  paint,  and  stippled.  Marked 
improvement  was  noted. 

“When  the  surfaces  of  the  walls  and  ceilings  of 
a certain  auditorium  where  the  reverberation 
was  excessive  were  changed  from  smooth  plaster 
to  rough  plaster  surfaces  created  by  the  circular 
motion  of  a barbed  trowel,  and  then  painted  and 
stippled,  the  reverberations  were  materially  re- 
duced.” 

That  the  application  of  Flat-Tone  will  greatly 
lessen  reverberation  in  an  auditorium  of  any 
type,  there  can  be  no  doubt. 


Flat-Tone  Colors 


There  are  sixteen  regular  Flat-Tone  colors, 
not  including  White,  which  offer  a wide  choice 
of  beautiful  tints  and  shades.  In  addition  to 
these  regular  colors  there  are  many  beautiful 
colors  which  can  be  secured  by  mixing  these 
shades  together,  equal  parts.  On  page  37  color 
samples  of  all  of  the  regular  Flat-Tone  colors 
are  shown,  in  addition  to  fourteen  beautiful 


admixtures,  which  will  be  supplied  ready  for 
application  where  quantity  required  justifies. 
In  each  case  color  has  been  mixed  with  color, 
but  where  the  architect  merely  wants  to  lighten 
the  shade  of  a regular  Flat-Tone  color,  without 
changing  its  tone,  this  can  be  done  by  adding 
Flat-Tone  White  in  sufficient  proportion  to 
secure  the  shade  desired. 


Application 

In  securing  a successful  finish  on  any  wall,  the 
first  essential  is  that  the  wall  be  perfectly  dry 
and  free  from  plaster  hot  spots.  For  this  reason 
sufficient  time  should  be  allowed  for  walls  to  dry 
thoroughly  before  applying  Flat-Tone.  Ordin- 
arily, if  there  has  been  heat  in  the  building  for 
a month  during  the  colder  season  of  the  year, 
or  if  the  plaster  was  applied  in  the  Summer 
months  and  it  has  been  on  the  walls  one  month 
during  good  warm  drying  weather,  one  may  be 
reasonably  sure  that  the  surface  is  in  proper 
condition  for  finishing. 

When  applying  the  first  coat  of  paint  to  the 
wall,  the  important  consideration  is  the  necessity 
for  thoroughly  sealing  the  wall  against  wall 
suction,  which  tends  to  draw  the  oil  out  of  the 
paint,  so  that  in  spots  the  color  will  be  lighter 
than  in  others. 

As  has  been  explained  previously  in  this 
bulletin,  The  Sherwin-Williams  Co.  have  de- 
signed a special  Flat-Tone  Mixing  Size  which  is 
mixed  equal  parts  with  the  paint  for  the  first 


of  Flat-Tone 

coat,  thereby  making  possible  a sizing  coat  and 
first  color  coat  in  one  operation,  which  eliminates 
the  expense  of  applying  a separate  sizing  coat. 

Due  to  the  great  opacity  or  hiding  power  of 
Flat-Tone,  a satisfactory  job  should  be  secured 
on  new  work  with  two  coats,  where  the  darker 
shades  are  employed,  but  in  the  case  of  the  light 
tints  such  as  Cream,  Ivory  or  Caen  Stone,  three 
coats  are  usually  necessary  to  secure  a perfect 
finish. 

If,  after  the  first  coat  consisting  of  Flat-Tone 
and  Flat-Tone  Mixing  Size,  equal  parts,  has  been 
applied  and  has  dried  out,  the  wall  shows  any 
signs  of  not  being  perfectly  sealed,  it  is  suggested 
that  as  a safeguard  to  insure  the  best  possible 
results,  Flat-Tone  Mixing  Size  be  added  to  the 
second  coat,  in  the  proportion  of  one  quart  of 
Mixing  Size  to  the  gallon  of  Flat-Tone. 

Flat-Tone  should  be  applied  with  a wide 
stucco  brush  and  each  coat  allowed  to  dry 
thoroughly  before  applying  the  succeeding  coat. 


Pa^e  thirty -two 


Dl 


PAINTING  AND  DECORA  TING  OF  INTERIOR  WALLS 


Flat-Tone  Covering  Capacity 


One  gallon  of  Sherwin-Williams  Flat-Tone 
will  cover  approximately  275  to  300  square  feet, 
two  coats,  depending  upon  the  condition  of  the 
surface  over  which  the  material  is  applied. 
When  used  over  smooth  plastered  walls,  one 


gallon  will  cover  between  350  and  400  square 
feet,  two  coats. 

Flat-Tone  is  put  up  in  all  sizes  of  packages, 
ranging  from  50-gallon  barrels  to  5 and  1 -gal- 
lon cans,  as  well  as  smaller  packages. 


Decorative  Stencil  Designs 


Under  certain  conditions  the  use  of  stencils  in 
wall  decoration  is  desirable.  The  Sherwin- 
Williams  Co.  is  in  position  to  supply  a wide 
choice  of  stencils  suitable  for  any  class  of  build- 
ing or  room.  These  stencils  are  cut  after  the 


exclusive  designs  of  the  decorators  in  The 
Sherwin-Williams  Company’s  Department  of 
Decoration.  Any  architect  interested  in  receiv- 
ing a Sherwin-Williams  Stencil  Catalog  will  be 
presented  with  one  upon  request. 


J.  Harold  MacDowell, 
Cleveland 


Chas.  R.  Ritter.  Supervising  Painter  and  Decorator. 
Cleveland 

Cleveland  City  Hospital 


Finished  with  Sherwin-Williams  Flat-Tone 


Pa^e  thirty-three 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


IS  ccaj^ 

1 rP 

IrfLiM 

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B.  Leo  Steif  & Co.,  Architects, 
Chicago 


Henning  Bood  & Co.,  Painting  Contractors. 

Chicago 


Hollywood-Kenmore  Apartments,  Chicago,  Illinois 


Finished  with  Sherwin-Willianns  Flat-Tone 


Pa^e  thirty-four 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Flat-Tone  IMulti-(^olor  Effects 


The  number  of  unusual  and  attractive  decor- 
ative effects  which  can  be  secured  through  sponge 
stippling  Flat-Tone  are  unlimited.  (See  samples 
of  Flat-Tone  Multi-Color  Effects  on  page  39.) 
This  is  the  very  latest  idea  in  interior  decora- 
tion and  was  introduced  several  years  ago  to  the 
architects  of  this  country  by  The  Sherwin- 
Williams  Company.  It  has  been  used  advan- 
tageously in  many  theatres,  clubs,  hotels,  resi- 
dences and  other  buildings.  Flat-Tone  Multi- 
Color  Effects  have  the  advantage  of  being  every 
bit  as  washable  as  Flat-Tone  itself,  and  also 
have  the  very  desirable  quality  of  not  showing 
soil  to  the  extent  which  is  true  of  plain  colors. 

The  colors  to  be  used  in  securing  the  various 
Flat-Tone  Multi-Color  Effects  are  specified  for 
each  effect  and  may  be  used  as  they  come  from 
the  original  container,  although  for  best  results 
the  addition  of  Flat-Tone  Mixing  Size  to  each 
stipple  color  is  recommended,  in  the  proportion 
of  one  part  of  size  to  three  parts  of  Flat-Tone. 

On  new  walls  the  preparation  (ground  coats) 
for  the  stipple  coat  should  be  secured  by  apply- 
ing two  coats  of  Flat-Tone  in  accordance  with 
the  specifications  for  the  first  two  coats  of  the 
regular  flat  wall  finish. 

For  stippling,  a sponge  of  good  even,  open 
texture  is  used,  though  not  necessarily  a large 
one.  The  bottom  of  the  sponge  is  the  surface 
best  suited  to  stippling  and  should  be  trimmed 
or  sliced  off,  if  necessary,  to  get  the  interesting 
flat  printing  surface.  When  ready  to  stipple  - 
which  can  be  done  as  soon  as  the  foundation 


coat  is  flatted  out  fairly  hard  pour  or  brush 
out  a small  quantity  of  the  first  stipple  color  on 
a piece  of  board  or  tin,  as  convenient.  Alter 
thoroughly  soaking  the  sponge  in  water,  wring 
the  water  out  as  completely  as  possible.  This 
will  open  up  the  sponge.  Dip  the  sponge  in  the 
color  on  the  flat  surface,  not  in  the  can.  Tap 
the  sponge  once  or  twice  on  the  board  to  remove 
surplus  paint  and  stipple  directly  on  the  wall. 
A firm  straight  tap  on  the  wall  is  the  best.  Do 
not  use  a twisting  or  turning  motion. 

When  two  or  more  stipple  colors  are  specified, 
the  next  color  may,  but  need  not,  follow  imme- 
diately. It  is  not  necessary  to  wait  until  the 
first  coat  is  dry  or  hard.  Use  a separate  sponge 
for  each  color  stippled. 

The  average  painting  contractor  of  fair  ability 
can  turn  out  a most  acceptable  Flat-Tone  Multi- 
Color  job  by  merely  following  the  brief  directions 
given  herein.  The  cost  of  Flat-Tone  Multi- 
Color  work  should  be  no  more  than  the  average 
three-coat  straight  color  job,  because  the  third 
coat  of  the  Multi-Color  System  is  the  sponge 
stipple  which  requires  less  material  than  a 
straight  brush  coat  and  is  applied  quicker  when 
applied  by  an  experienced  painter. 

On  account  of  limited  space;  it  has  been 
possible  to  show  but  seven  of  the  many  beautiful 
Multi-Color  Effects  possible  with  Flat-Tone.  A 
portfolio  of  twenty  different  effects,  with  illus- 
trated directions  for  application,  will  be  for- 
warded to  any  architect  upon  request.  This  is 
an  excellent  guide  for  a painting  contractor. 


Flat-Tone  System  Effects,  sometimes  known 
as  Tiffany  Effects  (samples  of  which  are  shown 
on  page  39  of  this  bulletin),  are  secured  by  using 
a ground  coat  similar  to  the  ground  coat  used  in 
Flat-Tone  Multi-Color  System.  This  is  glazed 
over  with  a special  varnish  glazing  liquid  manu- 
factured by  The  Sherwin-Williams  Company, 
which  is  previously  tinted  to  the  color  desired. 
This  glazing  liquid  when  tinted  is  semi-trans- 
parent, and  the  resulting  effect  is  rich  and  very 


Flat-Tone  System  Effects 

pleasing  to  the  eye.  Flat -Tone  System  work 
costs  a trifle  more  than  either  Multi-Color  work 
or  three-coat  straight  color  work,  but  there  are 
many  instances  when  this  form  of  decoration 
can  be  employed  more  advantageously  than 
either  of  the  other  two  forms. 


Like  a straight  Flat-Tone  finish  or  Flat-Tone 
Multi-Color  Effects,  Flat-Tone  System  Effects 
are  highly  washable. 


Page  thirty-five 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Gordon  & Kaelber,  Architects, 

Rochester,  N.  Y. 

McKim,  Mead  & White.  Associate  Architects, 
New  York  City 


Russel  B.  Smith.  Inc.,  Consulting  Engineers, 
New  York  City 

Allen  Decorating  Company.  Painting  Contractors 
Rochester.  N.  Y. 


Library,  Eastman  School  of  Music,  Rochester,  N.  Y. 


Finished  with  Sherwin-Williams  Flat-Tone 


Specifications 


Plain  Color  Work  on  New  Plaster  Walls  and  Ceilings 


Preliminary  Inspection:  Contractor  shall 

inspect  walls  before  starting  work,  to  make  sure 
that  surface  is  dry  and  in  proper  condition  for 
finishing. 

First  coat:  Sherwin-Williams  Flat-Tone  in 
the  color  selected  by  the  architect,  mixed  equal 
parts  with  Flat-Tone  Mixing  Size. 

Second  coat:  Flat-Tone  of  like  color  thinned 
with  turpentine  in  the  proportion  of  three- 


quarters  pint  turpentine  to  one  gallon  of  Flat- 
Tone. 

Third  coat:  Flat-Tone  of  like  color  without 
reduction. 

Note:  Three  coats  of  Flat-Tone  are  always 
recommended  to  secure  the  most  desirable 
effect  on  new  work.  However,  it  is  possible, 
under  normal  conditions,  to  obtain  a very  satis- 
factory finish  with  two  coats  of  the  deeper 
shades. 


Special  Notes  on  Painting  Newly  Plastered  Surfaces 


The  Sherwin-Williams  Company  never  advo- 
cates the  painting  of  plaster  walls  which  have 
not  been  given  an  opportunity  to  dry  out 
thoroughly.  If  “green”  plastered  walls  are 
painted,  there  is  always  a possibility  of  the 
alkali  in  the  plaster  attacking  the  paint,  and 
causing  discoloration.  However,  there  are 
certain  occasions  where  walls,  which  have  not 
been  given  sufficient  time  to  dry  out  thoroughly, 


must  be  painted  for  commercial  reasons.  Where 
this  is  the  case,  we  would  recommend  the  follow- 
ing procedure,  although  unfortunately  we  can- 
not guarantee  that  it  will  always  prevent  the 
discoloring  of  the  finish. 

First  coat:  Sherwin-Williams  Flat-Tone  in 
color  selected  by  the  architect,  mixed  equal 
parts  with  Flat-Tone  Mixing  Size. 


Page  thirty-six 


PAINTING  AND  DECORA  TING  OF  INTERIOR  WALLS 


Ivory  White 
R.  F.  78  per  cent 


Sherwin-Williams 


Caen  Stone 
R.  F.  72  per  cent 


Ivory 

R.  F.  75  per  cent 


Ivory  Tan 
R.  F.  59  per  cent 


Silver  Gray  and  Cream 
R.  F.  56  per  cent 


Buff  Stone  and  Pale  Azure 
R.  F.  45  per  cent 


Bright  Sage  and  Shell  Pink 
R.  F.  41  per  cent 


Silver  Gray 
R.  F.  49  per  cent 


Buff  Stone  and  Ivory  Tan 
R.  F.  56  per  cent 


Lichen  Gray 
R.  F.  68  per  cent 


Bright  Sage  and  Ivory  Tan 
R.  F.  49  per  cent 


Bright  Sage 
R.  F.  37  per  cent 


Bright  Sage  and  Pale  Azure 
R.  F.  36  per  cent 


Forest  Green  and  Pale 
Azure 

R.  F.  27  per  cent 


Forest  Green  and  Buff  Stone 
R.  F.  25  per  cent 


Forest  Green 
R.  F.  19  per  cent 


Silver  Gray  and  Caen  Stone 
R.  F.  57  per  cent 


Shell  Pink  and  Cream 
R.  F.  62  per  cent 


Shell  Pink 
R.  F.  63  per  cent 


Silver  Gray  and  Pale  Azure 
R.  F.  39  per  cent 


Shell  Pink  and  Silver  Gray 
R.  F.  48  per  cent 


Pearl  Gray 
R.  F.  72  per  cent 


Pale  Azure 
R.  F.  36  per  cent 


Cream 

R.  F.  69  per  cent 


Buff 

R.  F.  59  per  cent 


Buff  Stone 
R F.  54  per  cent 


Tan  and  Silver  Gray 
R.  F.  34  per  cent 


Tan 

R.  F.  31  per  cent 


Cocoanut  Brown  and  Tan 
R . F.  23  per  cent 


Cocoanut  Brown 
R.  F.  21  per  cent 


REFLKCTION  FA(.TOR  OF  FLAT-TONK  WHITE  70  , . 

Please  do  not  detach  color  samples.  The  Sherwin-Williams  Co.  will  be  glad  to  supply  you  with  as  many  as  you  require,  upon  request. 


Pa^e  thirty-seven 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Second  coat:  Flat-Tone  Mixing  Size  as  it 
comes  from  original  container. 

Third  coat:  Flat-Tone  of  like  color  reduced 


with  turpentine  in  proportion  of  i pint  of 
turpentine  to  one  gallon  of  Flat-Tone. 

Fourth  coat:  Flat-Tone  without  reduction. 


Specification  for  Flat-Tone  Multi-Color  Effects  on  New  Walls 

The  surfaces  indicated  shall  be  finished  with  specification  for  the  effect  selected.  No  paint 
Sherwin-Williams  Flat-Tone  Multi-Color  Sys-  shall  be  applied  until  contractor  has  determined 
tern  in  strict  accordance  with  the  manufacturer’s  that  walls  are  in  proper  condition  for  finishing. 


Specification  for  Flat-Tone  System  Work 


The  surfaces  indicated  shall  be  finished  with 
Sherwin-Williams  Flat-Tone  System  in  the 
effect  selected,  closely  following  in  all  details 
the  manufacturer’s  specifications  for  securing 


the  desired  effect.  No  paint  shall  be  applied 
to  the  walls  or  ceilings  until  the  contractor  has 
definitely  determined  that  those  surfaces  are 
in  proper  condition  for  finishing. 


Jordan  Green,  Architect, 
Newark,  N.  J. 


The  New  Jersey  Painting  Co. 
Robt.  E.  Mackay.  Pres. 


■ 

L 

tt 

T" 

E E 

t 

f 1" 

s s 

i r 

E 

Newark  Athletic  Club,  Newark,  N.  J. 


Finished  with  Sherwin-Williams  Flat-Tone 


Page  thirty-eight 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


TEXTURE  EFFECTS  IN 

Sh ERWIN  - Williams  Fla  t-  Tone 


FLAT-TONE  MULTI-COLOR 


MULTI  COLOR  EFFECT  No.  48 
R.  F.  66  per  cent 


MULTI-COLOR  EFFECT  No.  26 
R.  F.  56  per  cent 


MULTI-COLOR  EFFECT  No.  49 
R.  F.  48  per  cent 


MULTI-COLOR  EFFECT  No.  32 
R.  F.  69  per  cent 


MULTI-COLOR  EFFECT  No.  45 
R.  F.  49  per  cent 


MULTI-COLOR  EFFECT  No.  29 
R.  F.  53  per  cent 

‘ 

MULTI-COLOR  EFFECT  No.  50 
R.  F.  46  per  cent 


FLAT-TONE  SYSTEM 


SYSTEM  EFFECT  No.  50 
R.  P'.  51  per  cent 


SYSTEM  EFFECT  No.  53 
R.  F.  49  per  cent 


SYSTEM  EFFECT  No.  12 
R.  F.  43  per  cent 


SYSTEM  EFFECT  No.  27 
R.  F.  29  per  cent 


SYSTEM  EFFECT  No.  3 
R.  F.  51  per  cent 


SYSTEM  EFFECT  No.  29 
R.  F.  36  per  cent 


SYSTEM  EFFECT  No.  36 
R.  F.  35  per  cent 


Please  do  not  detach  color  samples.  The  Sherwin-Williams  Co.  will  be  glad  to  supply  you  with  as  many  as  you  require,  upon  request. 


Pa^e  thirty-nine 


PAINTING  AND  DECORATING  OF  INTERIOR  WALLS 


Verus  T.  Ritter,  Architect,  Philadelphia  Mitman  & Ziegenfass.  Painting  Contractors 

Bethlehem.  Pa. 

Liberty  High  School,  Bethlehem,  Pa. 

Finished  with  Sherwin-Williams  Flat-Tone 


Franz  C.  Warner,  Architect.  Cleveland  Willing  Bros.,  Elyria,  Ohio 

Contractors 

Roxboro  School,  Cleveland  Heights,  Ohio 

Finished  with  Sherwin-Williams  Flat-Tone 


Page  forty 


S1924  X S22  322 


PROFESSIONAL  BULLE  l IN 

I*'()r  Architects  aiul  Icngineers 

On  the  Subject  of 

Painting  and  Finishing 

ISSUED  BY 

DEPARTMENT  OF  ARCHITECTURAL  SERVICE 

The  Sherwin-Williams  Co. 

CLEVELAND,  OHIO 


NO.  4 


1:1)111:1)  in  a.  n.  lU'irr 


VOL.  ) 


Protective  Finish  for  Metal  Surfaces 


The  purpose  of  this  bulletin  is  not  to  discuss 
the  causes  for  the  corrosion  of  metals,  but  to 
discuss  ways  and  means  of  protecting  metal, 
with  a view  to  preventing  corrosion. 

In  seeking  a cure  for  an  ill,  it  is  first  necessary 
to  diagnose  the  cause. 

In  seeking  the  funda- 
mental causes  and  in 
studying  the  resultant 
reactions  which  attend 
the  formation  of  rust, 
the  investigators  of  the 
problem  of  corrosion  of 
iron  and  steel  have  ad- 
vanced three  separate 
theories. 

These  may  be  briefly 
stated  as  the  carbonic 
acid,  hydrogen  peroxide 
and  the  electrolytic  the- 
ories. Each  of  these 
theories  have  been  ex- 
haustively investigated 
by  learned  societies,  and 
while  there  still  is  a 
difference  of  opinion,  the  electrolytic  theory  is 


upheld  by  the  greater  number  of  authorities. 

It  is  not  practical  to  enter  into  the  discussion  of 
the  electrolytic  theory  in  this  bulletin.  The  subject 
is  highly  technical  and  the  discussion  would  of 
necessity  be  somewhat  lengthy.  Suffice  it  to  say 

that  the  principle  upon 
which  the  standard  spec- 
ifications, appearing 
hereinafter,  for  the  pro- 
tection of  iron  and  steel 
surfaces  are  based  is, 
that  the  priming  coat 
(or  shop  coat)  applied 
directly  to  an  iron  or 
steel  surface  should  be 
of  the  type  which  will 
minimize  the  electroly- 
sis of  the  metal  to  the 
greatest  degree  possible 
and  that  the  successive 
coats  should  be  of  a pro- 
tective, elastic  weather- 
resisting  nature  which 
will  effectively  exclude 
dampness  and  destruc- 
priming  coat. 


C‘'p\  riir''’ b\  Bro\M>  Hr'iUicrs.  N 

The  difference  in  color  between  the  priming  coat  of  Kromik 
Structural  Steel  Primer  and  the  successive  field  coats  of 
Metalastic  Brown  and  Black  make  it  possible  to  readily 
determine  the  progress  which  is  being  made  with  the  field 
coats  on  structural  steel. 

tive  gasses  from  the 


The  Priming  Coat 


It  therefore  must  be  evident  that  the  priming 
coat  on  iron  or  steel  surfaces  is  equally  important 
as  the  coats  which  follow,  if  not  more  so.  Sher- 
win-Williams Kromik  Structural  Steel  Primer, 
which  is  recommended  for  priming  of  structural 


steel,  ornamental  iron  work  and  similar  iron  and 
steel  surfaces,  was  formulated  on  the  basis  of  the 
proven  fact  that  chromates  possess  the  quality 
of  causing  iron  or  steel  to  be  passive,  or  in  other 
words,  chromates  apparently  possess  the  power 


To  be  hied  in  binder  provided  for  purpose 


Pafle  for ty -one 


Copyright.  1923,  T he  Sherw  i n -W  i Uia  nis  Co. 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


C.  W.  & Geo.  L.  Rapp.  Architects,  The  LundofiT-Bicknell  Company.  The  Bass  Construction  Co.,  Steel  Erectors. 

Chicago.  Illinois.  General  Contractors,  Cleveland,  Ohio  Cleveland.  Ohio 

The  New  Keith  Theatre  and  Office  Building,  Cleveland,  Ohio. 

Structural  Steel  Protected  with  Sherwin-Williams  Meta!  Protective  Paints 


Page  forty-two 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


to  minimize  the  effect  of  the  electrolytic  action, 
which  appears  to  have  a pronounced  effect  in 
producing  metal  corrosion. 

The  use  of  ferro-chromes  in  the  manufac- 
ture of  steel  used  for  stainless  steel  cutlery  is 
an  excellent  example  of  what  chromates  can  ac- 
complish in  preventing 
corrosion.  The  princi- 
ple in  the  employment 
of  Kromik  Structural 
Steel  Primer  is  very  sim- 
ilar. Instead  of  using 
chromes  in  the  manu- 
facture of  steel,  lead 
chromate  is  applied  to 
the  surface  of  the  steel 
as  one  of  the  important 
pigments  in  Kromik 
Structural  Steel  Primer 
with  similar  effective  re- 
sults. 

In  order  to  demon- 
strate how  chrome  com- 
pounds, more  particu- 
larly basic  lead  chrom- 
ate, even  in  great  dilu- 
tion, can  prevent  the 
corrosion  of  steel,  a spe- 
cial experiment  was  con 
ducted  by  our  Depart- 
ment of  Architectural 
Service  with  two  steel 
safety  razor  blades. 

Each  razor  blade  was 
placed  in  a small  jar,  and 
both  jars  were  filled  with 
hydrant  water.  Into  one 
jar,  a small  quantity  of  a 
solution  of  a chromate 
was  poured,  giving  the 
hydrant  water  a light 
amber  color.  Both  jars  were  then  sealed 
with  a metal  cap  and  the  entire  top  of  the  jar 
dipped  into  hot  paraffin  to  seal  the  jar  against 
any  possible  penetration  of  air. 

It  was  not  long  before  the  razor  blade  in  the 
jar  containing  the  clear  hydrant  water  began  to 
show  signs  of  corrosion,  while  the  blade  in  the 


other  jar,  containing  the  chromate  solution, 
remained  spotless  and  shiny. 

At  the  end  of  eighteen  months,  there  was  little 
left  of  the  razor  blade  in  the  ordinary  hydrant 
water  except  a deposit  of  rust  in  the  bottom 
of  the  jar,  while  the  other  razor  blade  showed  not 
the  slightest  sign  of  cor- 
rosion. Photographs  of 
the  two  jars  and  their 
contents  appear  on  page 
44  of  this  bulletin.  The 
Sherwin-Williams  Com- 
pany certifies  to  their 
authenticity. 

Mr.  Henry  A.  Gard- 
ner of  The  Educational 
Bureau  of  The  Paint 
Manufacturers  Associa- 
tion of  the  U.  S.,  in  a 
paper  read  before  The 
American  Electro- 
Chemical  Society  in 
April,  1921,  said  "It  is 
apparent  that  paints  for 
priming  steel  should  pre- 
ferably be  made  of  a 
substantial  amount  of 
one  or  more  basic  or 
chromate  pigments  and 
that  these  paints  should 
be  covered  with  water- 
resisting  finishing  coats 
of  carbon  or  iron  oxide 
paint." 

In  another  section  of 
this  paper,  Mr.  Gardner 
warns  against  the  use  of 
graphite  or  carbon 
paints  for  priming  coals, 
by  stating  "Substances 
that  form  a galvanic  cou- 
ple with  steel  in  the  presence  of  moisture  cause 
rapid  corrosion.  Pigments  which  act  in  this 
fashion  (graphite,  carbon  black,  lamp  black) 
are  used  only  as  the  constituents  of  the  fin- 
ishing coats  on  steel  surfaces,  when  first  in- 
sulated from  the  metal  hy  a coat  of  a basic 
or  chromate  pigment  paint.” 


^ ! f HE  importance  of  the 
careful  selection  on  the 
part  of  architects  and  engin- 
eers of  the  proper  types  of 
paint  for  the  protection  of 
iron  and  steel  surfaces  can- 
not be  over  emphasized . 
Every  year,  thousands  of  gal- 
lons of  cheap  so-called  metal 
protective  paints,  without 
protective  value  are  used  in 
this  country.  Specifications 
for  the  painting  of  metal 
work  should  be  very  carefully 
worded  to  make  the  use  of 
improper  material  impossi- 
ble. It  costs  no  more  for 
labor  to  apply  the  right  qual- 
ity of  metal  protective  paint 
than  to  apply  paint  which 
will  soon  perish.  The  differ- 
ence in  the  cost  of  insuring 
metal  protection  on  a large 
structure  against  the  use  of 
very  ordinary  paint  may  be 
no  greater  than  $500.  Is  not 
that  slight  additional  invest- 
ment worth  while? 


Page  forty-three 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


Red  Lead  Compared  with  Kromik 
Structural  Steel  Primer 

While  red  lead,  which  is  a basic  pigment,  pos- 
sesses many  of  the  fine  characteristics  of  Kromik 
Structural  Steel  Primer,  it  has  many  disadvan- 
tages. The  greatest 
drawback  of  a red 
lead  paint  is  the  ten- 
dency to  decompose 
rapidly  in  the  presence 
of  sulphurous  gasses 
to  be  found  in  the 
atmosphere  of  any 
community  of  any 
size.  This  feature  is 
highly  undesirable  in 
a paint  to  be  used  for 
a shop  coat.  If  metal 
primed  with  red  lead 
paint  can  immediately 
be  painted  over  with 
protective  coatings  of 
graphite  or  carbon 
paints,  the  results  will 
be  quite  as  satisfac- 
tory as  where  Kromik 
Structural  Steel 
Primer  is  used. 

Architects  and  en- 
gineers will  undoubtedly  recall  numerous 
occasions  where  structural  steel  has  been  shipped 
from  the  shop  to  the  building  site  and  there  has 
lain  for  months  protected  only  by  a shop  coat  of 
red  lead.  When  the  time  arrived  to  erect  the 
steel,  severe  corrosion  had  set  in,  due  to  the  fact 
that  the  red  lead  shop  coat  had  almost  entirely 
disintegrated.  Kromik  Structural  Steel  Primer, 
however,  is  very  nearly  as  resistant  to  the 
exterior  corroding  agents  as  are  the  finishing 
protective  coats  of  graphite  or  carbon  paints. 
For  this  reason,  this  primer  is  the  ideal  shop 
coat.  Kromik  Structural  Steel  Primer  is  orange- 
brown  in  color.  (See  sample  on  page  49). 
It  has  a covering  capacity  of  800  square  feet, 
one  coat,  to  the  gallon.  It  bonds  perfectly  with 
the  proteccive  coatings  which  are  applied  over  it. 
Kromik  Structural  Steel  Primer  is  put  up  in  one 
and  five-gallon  cans  and  fifty-gallon  barrels. 


The  small  jar  shown  above 
graphically  tells  the  story  of 
the  corrosion  of  the  bright  new 
razor  blade,  placed  in  the  jar 
full  of  ordinary  hydrant  water, 
after  having  been  left  in  the 
sealed  jar  for  a period  of  eight- 
een months.  (See  text  page  43 


Finishing  Coats 


In  designing  Sherwin-Williams  Metalastic 
Paint,  which  is  recommended  for  the  finishing 
coats  to  be  used  on  iron  or  steel  which  must 
undergo  atmospheric  exposure,  the  following 
requirements  were  borne  in  mind: 

First:  The  paint  should  result  in  a film  im- 
permeable to  air  and  water. 


Second:  It  must  be  firm  drying  and  resistant 
to  abrasion. 

Third:  It  must  possess  sufficient  elasticity  to 
withstand  ordinary  expansion  and  contraction  of 
metals. 

Fourth:  It  should  be  chemically  neutral  and 
possess  no  tendency  toward  chemical  reaction. 


Years  of  experimenting  by  our  Research  De- 
partment with  various  combinations  of  pigments 
oils  and  gums  to 
determine  what  paint 
or  paints  would  give 
the  best  service  and 
best  satisfaction  as  a 
paint  to  be  used  for 
the  finishing  coats  on 
exposed  metal  work, 
leads  us  to  the  definite 
recommendation  of 
She  rwi  n-Wi  1 1 i a m s 
Metalastic  for  this 
purpose. 

Metalastic  is  a 
paint  of  the  graphite 
type,  the  pigment 
varying  slightly  with 
the  color,  the  black 
containing  a certain 
percentage  of  carbon 
black,  while  in  the 
case  of  the  brown, 
ferric  oxide  is  com- 
bined  with  the 
graphite  instead  of 
carbon  black,  so  as  to 
produce  a brownish 

color.  These  pigments  are  mixed  with  the  vehicle 
according  to  scientific  formulae.  The  fine  grind- 
ing and  the  resultant  uniform  incorporation  of 


Photograph  of  a new  steel 
razor  blade  of  exactly  the  same 
type  as  was  used  in  the  other 
jar  shown  on  this  page.  Into 
the  hydrant  water  in  which 
this  blade  was  dropped,  was 
added  a slight  quantity  of  a 
chromate  solution.  This  photo- 
graph was  taken  after  eighteen 
months,  at  the  same  time  that 
the  photograph  of  the  other  jar 
was  taken.  A startling  proof  of 
the  power  of  chrome  compounds 
to  arrest  corrosion. 


Pa^e  forty  -four 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


the  pigment  with  the  vehicle  is  one  of  the 
most  essential  elements  in  the  manufacture  of 
any  suitable  Metal  Protective  Paint.  The  linseed 
oil  used  in  the  manufacture  of  Metalastic  is 
specially  treated  so  as  to  render  it  chemically 


neutral,  making  it  more  resistant  to  atmospheric 
influences.  Inasmuch  as  linseed  oil  supplies  the 
life  or  endurance  quality  of  the  paint,  the  import- 
ance of  the  aging,  treating  and  manipulation  of 
this  important  ingredient  cannot  be  minimized. 


(Covering  Capacity  of  Metalastic 

Metalastic,  in  addition  to  black,  is  made  in  800  square  feet,  one  coat,  to  the  gallon  and  is 
the  colors  of  Brown,  Gray  and  Green  (see  sam-  put  up  in  one  and  five-gallon  cans  and  fifty- 
pies  on  page  49).  It  has  a covering  capacity  of  gallon  barrels. 

Specifications 

Iron  or  Steel  Surfaces  lindergoing  Exterior  Exposure 

(.Such  as  Bridges,  .Steel  .Structures  for  Buildings,  Tanks, 

Fire  Escapes,  t'entilators.  Metal  Blinds,  Etc.) 

General:  Before  applying  priming  or  shop  the  surface  to  be  painted.  No  painting  shall  be 
coat,  all  rust,  mill  scale,  grease  or  foreign  matter  done  in  wet  or  freezing  weather,  nor  shall  paint 
of  any  kind  shall  be  completely  removed  from  be  applied  to  any  wet  or  damp  surface. 


Maynicke  6g  Franke.  Architects.  Bethlehem  Steel  Company,  Steel  Fabricators  Post  &.  McCord.  Steel  Erectors. 

New  York  City  Bethlehem,  Pa.  New  York  City 

Heckscher  Foundation  Building.  Fifth  Avenue,  New  York  City. 

Structural  Steel  Protected  with  Sherwin-Williams  Metal  Protective  Paints 


Pa  fie  fortv  -five 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


Paint  shall  be  used  in  the  consistency  received 
from  the  manufacturer.  No  thinner  shall  be 
added  without  the  written  approval  of  architect 
or  engineer. 

Priming  coat  (or  shop  coat):  Sherwin- 
Williams  Kromik  Structural  Steel  Primer.  All 
riveted  and  bolted  connections  as  well,  as  parts 
inaccessible  after  erection,  shall  receive  two  coats 
of  Kromik  Structural  Steel  Primer. 


Second  coat  (first  field  coat):  Sherwin- 
Williams  Metalastic  Brown.  Any  portions  of  the 
surface  which  are  abrased  in  transit  shall  be 
“spotted”  with  Kromik  Structural  Steel  Primer, 
prior  to  the  application  of  second  coat  (first 
field  coat). 

Third  coat:  Full  coat  of  Sherwin-Williams 
Metalastic  Black. 


Iron  or  Steel  Surfaces  Exposed  to  Acid  Fumes 


General:  Before  applying  priming  or  shop 
coat,  all  rust,  mill  scale,  grease  or  similar  foreign 
matter  shall  be  completely  removed  from  the 
surface  of  the  steel.  No  painting  shall  be  done 
in  wet  or  freezing  weather,  nor  shall  paint  be 
applied  to  any  wet  or  damp  surface.  All  paint 
shall  be  applied  in  the  consistency  supplied  by 
the  manufacturer  unless  written  approval  for 


reduction  first  be  secured  from  the  architect. 

Priming  coat:  Sherwin-Williams  Kromik 
Structural  Steel  Primer. 

Second  coat:  Sherwin-Williams  Non-Cor- 
rodible  Acid-Resisting  Paint  Black. 

Third  coat:  Sherwin-Williams  Non-Corrod- 
ible  Acid-Resisting  Paint  Black. 


Hot  Surfaces  (Stacks,  Flues,  Pipes,  etc.) 


General:  Before  applying  paint,  all  rust, 

dirt  and  grease  shall  be  thoroughly  cleaned  off 
the  surface  to  be  painted.  Paint  shall  be  applied 
as  it  comes  from  the  package. 


Priming  coat:  Sherwin-Williams  Salamander 
Smoke  Stack  Black. 

Second  coat:  Sherwin-Williams  Salamander 
Smoke  Stack  Black. 


Painting  Galvanized  Iron 


Prior  to  the  painting  of  galvanized  iron  which 
is  to  undergo  either  interior  or  exterior  exposure 
one  full  coat  of  Sherwin-Williams  Galvanized 
Iron  Primer  shall  be  applied  in  the  consistency 


supplied  by  the  manufacturer.  Any  dirt,  dust  or 
grease  shall  be  removed  before  painting.  When 
dry,  finishing  coats  of  the  type  of  paint  selected 
shall  then  be  applied. 


Exterior  Ornamental  Iron  Work  (Flat  Black  Finish) 


General:  Before  applying  the  priming  coat, 
all  rust,  mill  scale,  grease  or  other  foreign  matter 
shall  be  completely  removed  from  the  surface 
No  painting  shall  be  done  in  wet  or  freezing 
weather,  nor  shall  paint  be  applied  to  any  wet 
or  damp  surfaces.  First  two  coats  shall  be  ap- 
plied in  consistency  supplied  by  manufacturer. 

Priming  coat:  Sherwin-Williams  Kromik 
Structural  Steel  Primer. 

Second  coat:  Sherwin-Williams  Metalastic 


Black.  Before  applying  the  second  coat,  any 
surface  where  the  priming  coat  was  abrased  in 
transit  or  erection  shall  receive  a “spotting” 
coat  of  Kromik  Structural  Steel  Primer. 

Third  coat:  Sherwin-Williams  Quick  Drying 
Color,  Black,  thinned  with  turpentine,  and  when 
thoroughly  mixed,  add  raw  linseed  oil.  The 
mixture  to  be  in  proportion,  two  parts  black 
by  bulk  to  one  part  of  turpentine  and  one  part 
linseed  oil  by  bulk. 


Pa^e  forty-six 


VICTORIA  JUBILEE  BRIDGE  AT  MONTREAL 


The  Victoria  Jubilee  Bridge  spans  the  St.  [^wrence  River  at  Montreal,  Queb--c.  It  is  owned  by  The  Grand  Trunk  Railway  System.  This  bridge  has  a 
total  length  of  6,592  feet,  which  is  approximately  one  and  one-quarter  miles.  The  bridge  consists  of  twenty-five  spans,  having  a length  of  154  feet  each  and 
a center  span  of  340  feet.  The  width  of  the  structure  is  66  feet  8 inches.  The  total  weight  of  the  steel  employed  is  44,000.000  pounds 


Steel  Work  Protected  with  Sherwiii-WHIiams  Metatastic  Black. 


COLU^l^:/. 


Page  forty-eight 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


Interior  Ornamental  Iron  Work  (Flat  Black  Finish) 


General:  Before  applying  the  priming  coat, 
all  rust,  mill  scale,  grease  or  other  foreign  matter 
shall  be  completely  removed  from  the  surface. 

Priming  coat:  Sherwin-Williams  Kromik 
Structural  Steel  Primer  (except  where  galvan- 
ized iron  is  to  be  finished,  in  which  case  specify 
Sherwin-Williams  Galvanized  Iron  Primer). 


Second  coat:  Sherwin-Williams  Flat  Black 
No.  42.  One  coat  of  this  material  will  cover 
solidly,  with  a dense,  fiat  black  finish,  under  nor- 
mal conditions.  However,  in  case  the  surface 
should  not  be  covered  solidly  by  the  first  coat  of 
Flat  Black,  a second  coat  of  the  same  material 
should  be  applied. 


Verde  Antique  Finish  on  Interior  and  E.xterior  Metal  Work 
(See  sample  below) 


General:  Before  applying  any  paint,  all  rust, 
grease,  resin,  dirt,  etc.,  shall  be  removed  from 
the  surface  of  the  metal.  No  painting  shall  be 
done  during  wet  or  freezing  weather,  nor  shall 
paint  be  applied  to  any  wet  or  damp  surface. 

First  coat:  Sherwin-Williams  Kromik  Struc- 
tural Steel  Primer  to  be  applied  in  the  consis- 


tency supplied  by  the  manufacturer. 

Second  coat:  SWP  (Sherwin-Williams  Paint 
Prepared)  Shade  No.  393. 

Third  coat:  Brush-stipple  coat,  SWP  No.  355 
tinted  with  Sherwin-Williams  First  Quality  Oil 
Color  Paris  Green  to  the  shade  desired  by  the 
architect. 


Kromik  Structural  Steel 
Primer 


Metalastic 


(;reen 


Galvanized  Iron  Primer 


Non-Corrodible  Acid- 
Resisting  Paint 


m.ACK 


RROWN 


\’erde  Antique  Effect 


Fade  forxv-nine 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


Geo.  B.  Post  & Sons,  Architects. 
New  York  City 


Geo.  F.  Watts  Corp..  Steel  Erectors, 
Boston,  Mass. 

New  Hotel  Statler,  Buffalo,  New  York 


Structure]  Steel  Protected  with  Shetwin-WilliBms  I\4eta}  Protective  Paints. 


Pa^e  fifty 


A .ft>'AVAVAVAV.»!4>!4\ 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


Painting  of  Radiators 

The  Relation  of  Paint  Colors  to  Heat  Radiation 


In  bulletin  number  three,  in  discussing  Sher- 
win-Williams Flat-Tone  Wall  Finish,  it  was 
shown  that  some  colors  have  much  higher  light 
reflecting  value  than  others,  with  the  result  that 
it  is  possible  to  make  important  savings  in  the 
cost  of  illumination  of  large  buildings  through 
the  proper  selection  of  color. 

Not  many  years  ago,  aluminum  paint  was 
used  on  the  underside  of  metal  electric  lamp  re- 
flectors on  account  of  the  impression  that  was 
generally  held  that  aluminum  has  high  light  re- 
flecting powers.  It  was  later  definitely  demon- 
strated that  by  painting  the  underside  of  the 
lamp  reflectors  white,  the  efficiency  of  light  re- 
flection was  materially  increased. 

Now  The  American  Society  of  Heating  and 
Ventilating  Engineers  tells  us  that  paint  made 
from  aluminum  and  gold  bronzes,  which  has 
been  so  generally  used  for  painting  radiators 
and  steam  pipes,  is  quite  as  much  of  a hin- 
drance to  efficient  heat  radiation  as  aluminum 
paint  was  to  light  reflection. 

The  late  John  R.  Allen,  Professor  of  Mechanic- 
al Engineering  of  the  University  of  Michigan, 
conducted  extensive  laboratory  tests  on  the  re- 
lation of  colors  and  finishes  used  on  radiators  to 
the  transmission  of  heat,  and  according  to  his 
findings,  the  use  of  aluminum  paint  on  radiators 
retarded  the  radiation  of  heat  26^’,  ! 

In  a paper  by  Prof.  Allen,  recorded  on  page 
274,  volume  24,  Journal  of  American  Society  of 
Heating  and  Ventilating  Engineers,  the  following 
statement  is  made. 

“If  a radiator  is  painted  with  any  kind  of  flake 
metal  pigment  such  as  aluminum,  gold  or  bronze 
its  efficiency  is  reduced  approximately  25  per 
cent.  If  it  is  painted  right  over  the  aluminum 
with  an  enamel,  the  heat  transmission  is  the 
same  as  the  bare  iron.  I have  made  these  ex- 
periments with  14  coats  of  paint  on  the  radiator 
and  the  effect  of  the  last  coat  and  the  first  coat 
was  practically  the  same. 


“This  shows  that  the  heat  transmission  of  the 
radiator  depends  upon  the  ability  of  the  surface 
to  dispose  of  the  heat  and  not  upon  the  conduc- 
tivity of  the  material  of  which  the  radiator  is 
composed.  That  is,  under  the  conditions  existing 
in  a radiator,  the  heat  is  transmitted  much  more 
rapidly  through  the  metal  of  the  radiator  than 
the  surface  of  the  radiator  can  dissipate  the  heat. 
It  is  possible  that  we  may  find  some  coating 
which  can  be  placed  upon  a radiator  that  will 
increase  its  conductivity  beyond  that  of  the  bare 
iron.  I do  not  know  that  any  attempts  have 
ever  been  made  to  do  this,  but  it  is  one  possible 
means  of  increasing  radiator  efficiency.” 

In  later  experiments.  Prof.  Allen  actually  did 
find  a coating  which  could  be  placed  on  a radiator 
which  increased  its  conductivity  over  that  of 
bare  iron.  One  was  a damar  enamel  of  the  type  of 
Sherwin-Williams  Snow  White  Enamel,  and  the 
other  was  a zinc  oxide  paint,  both  of  which  re- 
sulted in  an  increase  in  conductivity  of  1 per 
cent. 

The  published  results  of  Prof.  Allen’s  experi- 
ments with  the  use  of  various  colors  on  radiators 
in  round  figures  are  as  follows: 


per  cent  gain 
over  bare  metal 

Snow  White  Enamel  1 

Zinc  Oxide  I’aint  1 

Bare  Metal  0 

Terra  Cotta  I’aint  0 

Bronze  Green  Enamel  0 

per  cent  loss 

White  I’aint  1 

Light  Green  I’aint  1 

Light  Brown  Varnish  2 

Dark  Brown  Varnish  2 

Silver  Gray  Enamel  3 

Terra  Cotta  Enamel  4 

Green  Enamel  4 

Copper  Bronze  24 

Aluminum  Bronze  26 


P a fit f V -one 


PROTECTIVE  PAINTS  FOR  METAL  SURFACES 


In  a later  paper  by  Prof.  Allen,  recorded  on 
page  109,  Journal  26,  of  The  American  Society 
of  Heating  and  Ventilating  Engineers,  the  follow- 
ing statement  is  made: 

“The  effect  of  painting  was  originally  deter- 
mined by  experiments  made  with  a cast  iron 
rectangle,  and  in  applying  these  to  radiators  of 
standard  type,  corrections  must  be  made  to 
allow  for  the  difference  between  the  area  of  the 
radiating  and  convecting  surfaces.  The  effect 
of  painting  is  to  change  the  radiation  constant 
of  the  radiating  surface  and  has  practically  no 
effect  upon  the  heat  lost  by  convection.  It  is, 
therefore  a surface  effect  and  it  makes  no 
difference  what  paints  are  placed  on  the  radia- 

Ded notions  and 

Tests  made  by  the  Educational  Bureau  of  the 
Paint  Manufacturer’s  Association  of  the  U.  S., 
indicate  that  there  is  also  a difference  in  the 
radiation  efficiency  of  flat  and  gloss  paint  and  the 
indications  are  usually  in  favor  of  the  flat  paint. 
Inasmuch  as  a flat  paint  film  is  generally  con- 
sidered slightly  more  porous  than  a gloss  paint 
film,  this  may  have  some  bearing  upon  the 
matter.  The  results  of  the  various  investigations 
cited,  suggest  the  use  of  light  tints  of  Sherwin- 
Williams  Flat-Tone  Wall  Finish.  This  paint 
tends  to  bake  to  a firm  film  on  radiator  surfaces, 
and  practical  tests  made  by  the  Paint  Manufac- 


tor  as  a priming  coat,  the  results  are  always  de- 
pendent upon  the  last  coat  of  paint  put  upon 
the  radiator.  In  radiators  having  a large  pro- 
portion of  radiating  surface  such  as  pipe  coils 
or  wall  coils,  the  effect  of  painting  will  be  more 
marked  than  in  four-column  radiators  having 
a comparatively  small  radiating  surface  in 
proportion  to  convecting  surface.  All  finely 
ground  materials  have  about  the  same  radiat- 
ion constant.  Therefore  all  paints  having 
finely  ground  pigments  will  give  about  the 
same  effect.  Metals  have  a poor  radiating 
effect,  so  that  any  paint  involving  flake  metal, 
such  as  the  bronze,  will  have  a low  radiating 
constant.’’ 

Recommendations 

turers’  Association  of  the  U.  S.  with  paints  of  a 
similar  type  upon  radiators  in  their  laboratories, 
indicate  that  such  a finish  has  life  of  as  high  as 
nine  or  ten  years,  without  showing  defects. 

Regardless  of  what  types  of  paint  are  used  in 
painting  radiators,  aside  from  aluminum  and 
metal  bronzes,  there  is  bound  to  be  a slight 
change  in  color.  White  damar  enamels  will  yellow 
slightly,  while  Flat-Tone  and  colored  enamels 
will  likewise  change  color  slightly.  This  is  a 
condition  for  which  a remedy  has  not  been  found 
up  to  the  present,  but  the  results,  all  in  all,  are 
highly  satisfactory. 


Specifications 


Before  applying  paint,  clean  off  dust,  dirt  and 
rust  by  wire  brushing.  Also  remove  any  grease 
which  may  be  present.  Radiators  must  not  be 
painted  while  they  are  hot.  Allow  paint  to  dry 
thoroughly  before  turning  on  heat. 

Where  a white  finish  is  desired  on  radiators, 
specify  two  coats  of  Sherwin-Williams  Flat- 


Tone  and  one  coat  of  Sherwin-Williams  Snow 
White  Enamel. 

For  a colored  enamel  finish  on  radiators,  speci- 
fy two  coats  of  Sherwin-Williams  Flat-Tone  and 
one  coat  of  S-W  Enameloid  in  color  selected. 

For  a flat  finish  on  radiators,  specify  two  coats 
of  Sherwin-Williams  Flat-Tone  in  color  selected. 


i;4U  C23  586 


Page  fifty-two 


PROFESSIONAL  BULLE'FIN 

For  Architects  and  Fngineers 

On  the  Subject  of 

Painting  and  Finishing 

ISSUED  BY 

DEPARTMENT  OF  ARCHITECTURAL  SERVICE 

The  Sherwin-Williams  Co. 

CLEVELAND,  OHIO 


NO.  5 


EDITED  HV  A.  H.  HTnT 


VOL.  1 


Finishing  of  Interior  Floors 


“Flies  walk  on  doors  - but  people  walk  on 
floors.”  This  is  a slogan  which  has  been 
popular  with  the  represen- 
tatives of  The  Sherwin- 
Williams  Company  for 
a number  of  years,  on 
account  of  the  fact  that 
it  very  aptly  states  a truth 
which  many  are  prone  to 
overlook. 

Floors  in  a building,  re- 
gardless of  whether  it  be  a 
residence,  a school,  an 
office  building  or  a church, 
are  the  main  traffic  aven- 
ues of  wear.  No  other 
surface  in  the  building  is 
called  upon  to  withstand 
the  extreme  test  of  wear 
that  floors  are  called  upon 
to  withstand. 

For  this  reason  the  im- 
portance of  the  proper 
selection  of  finishing  ma- 
terials for  floors,  when 
writing  painting  and  fin- 
ishing specifications,  is  of 
utmost  importance  to  the 
architect.  Few  things  can 
mar  a beautiful  interior 
more  than  poorly  finished 
or  scratched  and  worn 
floors.  It  is  for  this  reason 
that  this  bulletin  on  the 
finishing  of  floors  is  being 


issued,  and  it  is  hoped  that  members  of  the 
architectural  profession  will  find  its  contents 
helpful  in  selecting  the 
most  suitable  finish  for 
each  type  of  floor. 

In  view  of  the  fact  that 
The  Sherwin  - Williams 
Company  manufactures  all 
types  of  finishes  that  are 
used  on  floors,  it  has  no 
reason  to  be  biased  in  any 
of  its  recommendations,  so 
that  this  bulletin  will  en- 
deavor to  set  forth  the  ad- 
vantages and  disadvant- 
ages of  each  type  of  finish, 
as  well  as  treat  the  prob- 
lems presented  by  various 
types  of  floors,  individually. 

Types  of  Finishes 

Floor  finishes  can  be 
generally  classified  under 
the  following  types: 

The  varnished  floor 
The  shellacked  floor 
The  waxed  floor 
The  painted  floor 
In  new  construction,  about 
the  only  time  a paint  is 
used  on  floors  is  where 
they  are  of  concrete  or 
softwood.  In  view  of  the 
general  use  of  hardwood 
floors  in  the  better  class  of 


B.  Stanley  Simmons  8&  Chas.  S.  Hollaway,  Architects 
Medicpl  Science  Building.  Washington,  D.  C. 


S-W  Concrete  Floor  Paint  Used 


To  be  filed  in  binder  provided  for  purpose 

Copyright,  1923,  The  Sherwin-Williams  Company 


Paf^e  fif ty-t hree 


FINISHING  OF  INTERIOR  FLOORS 


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FINISHING  OF  INTERIOR  FLOORS 


t) 


construction,  which  are  invariably  hnished  with  a 
transparent  material  such  as  varnish,  shellac 
or  wax,  it  will  undoubtedly  be  of  interest  to 
compare  the  characteristics  of  each  of  these 
types  of  finish  in  order  to  determine  which  is 
the  most  suitable  for  various  types  of  doors. 


While  there  is  no  question  about  the  fact  that 
the  majority  of  architects  favor  a varnished 
finish  on  the  floors  of  residences,  there  is  a 
large  number  of  architects  who  strongly  favor 
the  waxed  finish  and  probably  nearly  as  many 
who  favor  the  shellacked  finish. 


The  Shellacked  Floor 


First  of  all, let  us  consider  the  shellacked  finish. 
Shellac  is  made  from  a brittle  gum,  which  is 
imported  from  Asia.  The  gum  is  dissolved  in 
alcohol,  and  where  the  shellac  is  pure,  no  other 
ingredient  enters  into  the  manufacture.  There 
is  no  oil  in  the  material  upon  which  the  shellac 
film  may  depend  for  elasticity.  As  a result, 
shellac  is  the  least  durable  finish  that  can  be 
put  upon  a floor.  The  slightest  amount  of  usage 
soon  causes  the  shellac  finish  to  wear  through  to 
the  wood.  It  scratches  white  and  discolors 


permanently  when  subjected  to  water,  such  as 
water  leaking  from  a radiator  or  rain  falling 
upon  it  from  an  open  window. 

Shellac,  however,  has  its  advantages.  It 
dries  very  quickly,  making  it  possible  to  finish 
a floor  rapidly.  It  takes  a beautiful  oil  rubbed 
finish  which  is  really  a picture  until  subjected  to 
wear.  Unless  floors  which  have  been  shellacked 
are  almost  entirely  covered  by  rugs,  the  floors 
soon  become  unsightly  and  require  frequent 
refinishing. 


The  Waxed  Floor 


The  waxed  floor  is  to  be  preferred  to  the 
shellacked  floor  from  the  standpoint  of  not 
marring  or  scratching  white.  Like  the  shellacked 
floor,  the  finishing  process  is  rapid  because  there 
is  not  the  necessity  for  waiting  for  twenty-four 
hours  for  each  coat  to  dry  before  proceeding 
with  the  application  of  the  succeeding  coat. 

The  waxed  finish  produces  a very  attractive 
dull  gloss  surface,  but  where  subjected  to  any 
degree  of  wear,  requires  frequent  refinishing, 
which  is  a decided  care  to  the  mistress  of  the 


house  unless  she  has  servants  to  relieve  her  of 
the  necessary  floor  polishing. 

What  is  true  of  the  shellacked  floor  is  also  true 
of  the  waxed  floor,  i.  e.,  where  the  floor  is  almost 
entirely  covered  by  rugs  and  not  exposed  to 
foot  wear,  this  type  of  finish  is  quite  satisfactory, 
except  where  there  are  small  rugs,  in  which  case 
these  rugs  frequently  slip  under  foot,  which 
sometimes  ends  in  unfortunate  results  for  the 
hapless  person  who  may  have  been  hurrying 
across  the  floor. 


The  Correctly  Varnished  Floor 


Where  a floor  is  finished  with  Sherwin- 
Williams  Mar-not  Floor  Varnish,  and  no  brittle 
undercoatings  such  as  shellac  or  liquid  filler  are 
used,  one  has  a floor  which  is  finished  with  the 
most  durable  type  of  transparent  floor  finish 
yet  produced  by  science.  Where  subjected  to 
hard  wear  it  will  present  a beautiful  appearance 
long  after  the  shellacked  finish  or  the  waxed 
finish  has  worn  through  to  the  wood.  It  is 
water-resisting  and  will  not  scratch  or  mar  white. 

A floor  varnished  with  Sherwin-Williams 
Mar-not  may  be  left  in  the  gloss,  with  its  full. 


deep,  beautiful  finish  or  may  be  rubbed  to  the 
popular  dull  rubbed  varnished  effect  with 
powdered  pumice-stone  and  oil.  To  those 
architects  who  favor  the  waxed  finish  on 
account  of  its  dull  gloss  effect,  this  type  of 
varnished  finish  is  particularly  recommended 
because  the  effect  is  practically  identical  to  the 
waxed  finish,  but  the  difference  in  wearing  ability 
and  the  amount  of  upkeep  required  is  as  far 
apart  as  day  and  night. 

The  warning  against  the  use  of  shellac  or 
liquid  filler  as  first-coaters  under  floor  varnish 


Pafie  f\1  ty-five 


FINISHING  OF  INTERIOR  FLOORS 


Andrews  Company,  Architect  E-  Haulter,  Painting  Contractor 

Los  Angeles,  Calif. 

Dryborough  Hall,  Flint  Ridge,  Calif. 

Floors  finished  with  Sherwin-Williams  Mar-riot  Varnish 


cannot  be  made  too  strong.  It  is  like  building 
a house  on  a pasteboard  foundation  or  first 
laying  glass  on  a floor  before  varnishing  and 
then  expecting  the  finishing  coats  of  tough, 
durable  Mar-not  Floor  Varnish  to  continue  to 
protect  the  floor  after  blows  from  falling  heels 

Staining  and 

The  three  woods  used  to  the  greatest  extent 
for  flooring  in  the  United  States  are  Oak  and 
Maple  for  the  hardwood  floors,  and  edge-grain 
Pine  for  the  softwood  floors.  Maple  and  Pine 
are  close-grain  woods  and  require  no  paste 
filler  to  fill  the  open  pores  of  the  wood.  Oak  is 
the  only  one  of  the  three  that  has  an  open  grain 
and  this  wood  requires  a paste  filler  in  finishing. 

Sherwin-Williams  Paste  Filler  consists  of  a 
high-grade  silex,  color  pigment,  varnish,  oil  and 
a slight  amount  of  drier.  It  is  reduced  from  its 
paste  consistency  with  benzine  to  a consistency 
of  thick  cream.  This  material  is  then  brushed 
over  the  surface  of  the  wood  and  allowed  to  set 


may  have  pulverized  the  glass  over  which  the 
varnish  was  applied.  The  finishing  coats  of  a 
floor  varnish  must  have  something  tough  and 
durable  to  cling  to,  and  nothing  serves  the 
purpose  quite  so  well  as  coats  of  the  varnish 
itself,  from  the  bare  wood  up. 

Filling  Floors 

for  a few  minutes,  after  which  it  is  wiped  off 
across  the  surface  of  the  wood  with  burlap  or 
excelsior,  leaving  the  pores  of  the  wood  packed 
level  with  the  surface  and  ready  for  the  varnish, 
after  sufficient  time  is  allowed  for  drying. 

Where  it  is  desired  to  make  the  color  of  the 
oak  darker  than  its  natural  color,  Sherwin- 
Williams  Paste  Filler  in  the  color  desired  can  be 
used,  which  both  stains  the  wood  and  fills  the 
pores  of  the  wood  in  one  operation.  Paste  wood 
fillers  for  oak  come  in  the  shades  of  Golden 
Oak,  Oak  and  Antique  Oak.  If  a natural  oak 
finish  is  desired  Transparent  Paste  Filler  should 
be  specified. 


Pa^e  f\{ ty-six 


■» 


FINISHING  OF  INTERIOR  FLOORS 


In  order  to  secure  a stained  effect  on  Maple 
or  Pine,  on  which  paste  fillers  cannot  be  used  on 
account  of  the  fact  that  neither  of  these  woods 
have  an  open  grain,  Sherwin-Williams  Oil  Stain 

Finishing  of 

The  finishing  of  stair  treads  is  a problem  in 
itself,  especially  where  the  stairs  are  not  to  be 
carpeted  and  thus  protected  from  the  extremely 
heavy  foot  traffic  which  the  finish  on  stair  treads 
must  withstand. 

Where  stair  treads  are  to  be  finished  in  an  oak 
color  or  left  in  the  color  of  the  natural  wood. 


is  recommended  for  this  purpose,  unless  special 
shades  are  desired,  such  as  Silver  Gray,  or  ex- 
ceedingly dark  shades,  which  are  impossible  to 
secure  with  a genuine  oil  stain. 

Stair  Treads 

they  may  be  finished  in  the  same  manner  as 
recommended  for  floors,  but  in  much  of  the 
modern  residential  work  the  scheme  of  interior 
decoration  calls  for  staining  the  stair  treads  a 
dark  mahogany  or  walnut  color.  The  type  of 
stain  used  to  produce  this  effect  is  such  that  a 
floor  varnish  should  not  be  applied  directly  over 


William  E.  Lehman,  Architect 
Newark,  N.  J. 


J.  H.  Lehman  Construction  Co.,  Contractors 
Newark.  N.  J. 

The  Ritz  Apartments,  Newark,  N.  J. 


Floors  finished  with  Sherwin-Willianis  Mar-not  Varnish 


Pa^e  fif ty-seven 


FINISHING  OF  INTERIOR  FLOORS 


o 

c6 


Page  fifty-eight 


FINISHING  OF  INTERIOR  FLOORS 


the  stain.  A spirit  penetrating  stain  or  an  acid 
stain  used  to  produce  these  darker  effects  would 
react  on  the  varnish  if  applied  directly  over  the 
stain,  resulting  in  poor  drying,  so  that  the  finish 
would  be  “tacky”  or  sticky. 

In  a case  of  this  kind  there  is  no  choice  but  to 
use  a coat  of  thin  pure  white  shellac  to  seal  the 
stain  into  the  wood  before  applying  the  varnish. 
Only  just  enough  shellac  should  be  used  to  seal 


the  stain  effectively.  For  this  i)urpose  specify 
Sherwin-Williams  Pure  White  Shellac  cut  4 
pounds  to  the  gallon),  reduced  equal  parts  with 
denatured  alcohol.  This  will  result  in  a shellac 
of  the  proper  consistency.  After  the  shellac  is 
dry,  three  coats  of  Sherwin-Williams  Mar-not 
Floor  Varnish  should  be  applied,  sanding  lightly 
between  coats  when  dry.  For  a dull  finish,  rub 
with  powdered  pumice  and  oil. 


Specifications 

Natural  ^'arnished  Finish  on  New  Floors 


The  floors  shall  be  perfectly  smooth  before 
any  varnish  is  applied,  and  shall  be  thoroughly 
cleaned  of  all  dust,  stains,  etc.  (For  open-grain 
wood  only;  The  wood  shall  then  be  filled  with 
Sherwin-Williams  Paste  Filler,  Transparent, 
which  before  becoming  hard  shall  be  wiped  off 
across  the  surface  with  burlap  or  excelsior.  After 
allowing  forty-eight  hours  for  drying,  the  surface 
shall  be  sanded  with  No.  ]/>  sandpaper  to  a 
smooth  surface).  Three  coats  of  Sherwin- 
Williams  Mar-not  Floor  Varnish  shall  then  be 

New  Hardwood  Floors  ()pen-(iri 

The  floors  shall  be  perfectly  smooth  before 
any  finish  shall  be  applied.  Floors  shall  be 
thoroughly  cleaned  of  all  dust,  stains,  etc.  A 
first  coat  consisting  of  Sherwin-Williams  Paste 
Filler,  in  the  color  selected  by  the  architect, 
shall  be  applied,  which  before  becoming  hard 
shall  be  wiped  off  clean  across  the  grain  with 
excelsior  or  burlap.  Allow  forty-eight  hours  for 
drying.  Three  coats  of  Sherwin-Williams  Mar- 
not  Varnish  shall  then  be  applied.  The  first 

New  Hardwood  Floors  Close-' 

The  floors  shall  be  perfectly  smooth  before  any 
finish  is  applied  and  shall  be  thoroughly  cleaned 
of  all  dust,  stains,  etc.  One  coat  of  Sherwin- 
Williams  Oil  Stain  in  the  color  selected  by  the 
architect  shall  then  be  applied.  After  twenty- 
four  hours  has  been  allowed  for  the  stain  to  dry 
three  coats  of  Sherwin-Williams  Mar-not  Var- 
nish shall  be  applied,  the  first  coat  of  which 
shall  be  thinned  in  proportion  of  one  pint  of 


applied.  The  first  coat  shall  be  thinned  in  pro- 
portion of  one  pint  of  pure  turpentine  to  one 
gallon  of  Mar-not.  The  second  and  third  coats 
shall  be  applied  as  the  varnish  comes  from  the 
original  container,  allowing  sufficient  time  for 
hardening  and  sanding  lightly  with  No.  00  sand- 
paper between  coats.  (For  dull  finish,  include 
the  following  sentence  in  specification : The  last 
coat,  after  sufficient  time  has  been  allowed  for 
hardening,  shall  be  rubbed  to  a dull  finish  with 
powdered  pumice-stone  and  oil). 

in  Wood  Stained  and  ^'arnished 

coat  shall  be  reduced  in  the  proportion  of  one 
pint  of  pure  turpentine  to  one  gallon  of  Mar-not. 
The  two  subsequent  coats  shall  be  applied  as 
the  varnish  comes  from  the  original  container, 
allowing  sufficient  time  for  drying,  and  sanding 
lightly  with  No.  00  sandpaper  between  coats. 
(For  a dull  finish,  include  the  following  sentence 
in  specification:  The  last  coat  shall  be  rubbed, 
when  sufficiently  hard,  with  pumice-stone  and 
oil  to  a dull  finish.) 

irain  Stained  and  \ arnished 

pure  turpentine  to  one  gallon  of  Mar-not.  The 
second  and  third  coats  of  Mar-not  shall  be 
applied  in  the  consistency  supplied  by  the 
manufacturer,  allowing  sufficient  time  for  dry- 
ing, and  sanding  lightly  with  No.  00  sandpaper 
between  coats.  For  a dull  finish:  The  last 
coat,  after  allowing  sufficient  time  for  hard 
drying,  shall  be  rubbed  to  a dull  finish  with 
powdered  pumice-stone  and  oil. 


Pa4je  Ffty’nme 


FINISHING  OF  INTERIOR  FLOORS 


Marsh  & Peter,  Architects 
Washington,  D.  C. 


James  Linskey  & Sons,  Painting  Contractors 
Washington.  D.  C. 


(New)  Evening  Star  Building,  Washington,  D.  C. 

Floors  of  press  rooms  finished  with  Sherwin-Williams  Floor -Seal -Oil.  Office  floors  finished  with 

Sherwin-Williams  Mar  not  Varnish 


Page  sixty 


FINISHING  OF  INTERIOR  FLOORS 


La  Brodge  & Bullard.  Architects 
New  Bedford,  Mass. 


Charles  S.  Oakes.  Painting  Contractor 
Providence,  R.  I. 

Mount  Pleasant  School,  New  Bedford,  Mass. 


Floors  finished  with  Sherwin-Williams  Floor-Seal-Oil 


Waxed  Finish  for  New  Floors  (Natural) 


The  floors  shall  be  perfectly  smooth  before 
any  finish  shall  be  applied  and  shall  be  cleaned  of 
all  dust,  stains,  etc.  (Where  the  floors  are  of 
open-grain  wood,  use  the  following:  One  coat 
of  Sherwin-Williams  Paste  Filler,  Transparent, 
shall  be  applied,  which  before  becoming  set 
shall  be  wiped  off  clean  across  the  grain  with 


burlap  or  excelsior.  Allow  forty-eight  hours 
for  drying. ) One  coat  of  Sherwin-Williams  Floor- 
Seal-Oil  shall  then  be  applied.  When  dry  sand 
lightly  with  No.  Yl  sandpaper  and  apply  two 
coats  of  Sherwin-Williams  Prepared  Wax,  pol- 
ishing both  coats  to  a hard,  polished  finish  with 
a weighted  polishing  brush  or  polishing  machine. 


New  Hardwood  Floors — Open-Grain  Wood  Stained  and  Waxed  Finish 


Floors  shall  be  perfectly  smooth  before  any 
finish  shall  be  applied,  and  shall  be  thoroughly 
cleaned  of  all  dust,  stains,  etc.  A first  coat 
consisting  of  Sherwin-Williams  Paste  Filler, 
in  the  color  selected  by  the  architect,  shall  be 
applied,  which  before  becoming  set  shall  be 
wiped  off  across  the  grain  with  burlap  or  excel- 
sior. After  allowing  forty-eight  hours  for  filler 

New  Hardwood  Floors  Close-Grain 

Floors  shall  be  perfectly  smooth  before  any 
finish  shall  be  applied,  and  shall  be  thoroughly 
cleaned  of  all  dust,  stains,  etc.  A first  coat  con- 
sisting of  Sherwin-Williams  Oil  Stain,  in  the 


to  harden  thoroughly,  a coat  of  Sherwin-Williams 
Floor-Seal-Oil  shall  be  applied,  as  it  comes 
from  the  package,  which  when  dry,  shall  be 
lightly  sanded  with  No.  Yl  sandpaper.  Two 
coats  of  Sherwin-Williams  Prepared  Wax  shall 
then  be  applied,  polishing  each  coat  to  a hard, 
polished  finish  with  a weighted  polishing  brush 
or  polishing  machine. 

Wood  Stained  and  Waxed  Finish 

color  selected  by  the  architect,  shall  then  be 
applied.  After  allowing  the  stain  a few  minutes 
to  set  up,  wipe  surface  of  the  wood  with  soft 
cloth.  Allow  stain  twenty-four  hours  to  dry. 


sixty-one 


FINISHING  OF  INTERIOR  FLOORS 


Apply  one  coat  of  Sherwin-Williams  Floor-Seal- 
Oil;  when  dry  sand  lightly  with  No.  3^  sand- 
paper. Apply  two  coats  of  Sherwin-Williams 

Prepared  Wax,  polishing  both  coats  to  a hard, 
polished  surface  with  a weighted  polishing  brush 
or  polishing  machine. 

New  Softwood  Floors —Stained  and  Varnished  Finish 

The  floors  shall  be  perfectly  smooth  before 
any  finish  is  applied  and  shall  be  thoroughly 
cleaned  of  all  dust,  stains,  etc.  One  coat  of 
Sherwin-Williams  Floorlac  (varnish  stain)  in  the 
color  selected  by  the  architect,  thinned  with  one 
pint  of  pure  turpentine  to  each  gallon  of  Floorlac, 

shall  be  applied.  The  second  and  third  coats, 
consisting  of  Sherwin-Williams  Mar-not  Floor 
Varnish,  shall  then  be  applied  as  it  comes  from 
the  package.  Sufficient  time  shall  be  allowed 
for  drying  and  the  surface  shall  be  lightly 
sanded  with  No.  00  sandpaper  between  coats. 

New  Softwood  Floors  Painted  Finish 

See  page  63  for  color  samples.  Inside  Floor  Paint  is  made  in  same  colors  as  Concrete  Floor  Paint 

The  floors  shall  be  thoroughly  dry  and 
cleaned  of  all  dust,  dirt,  grease,  etc.,  before  any 
paint  shall  be  applied.  Three  coats  of  Sherwin- 
Williams  Inside  Floor  Paint  shall  be  applied. 

The  first  coat  shall  be  thinned  with  pure  tur- 
pentine in  the  proportion  of  one  pint  of  turpen- 
tine to  the  gallon  of  paint.  Second  and  third 
coats  shall  be  applied  without  thinning. 

New  Cement  Floors  -Painted  Finish 

See  color  samples  on  page  63 

The  contractor  shall  make  sure  that  all 
cement  floors  to  be  painted  are  thoroughly  dry 
and  free  from  dust,  dirt  and  grease,  before  be- 
ginning work.  Three  coats  of  Sherwin-Williams 
Concrete  Floor  Paint  in  the  color  selected  by  the 
architect  shall  be  applied,  the  first  coat  being 

thinned  in  proportion  of  one  pint  of  pure  turpen- 
tine to  the  gallon  of  paint.  The  second  and 
third  coats  shall  be  applied  in  the  consistency 
supplied  in  original  container.  Where  economy 
is  consideration,  satisfactory  job  can  be  secured 
with  two  coats  but  three  coats  will  wear  better. 

New  Cement  Floors— 

-To  Harden  and  Seal 

Discussion 

Where  cement  floors  are  to  undergo  heavy 
wear,  the  floors  can  be  materially  hardened,  dust- 
proofed  and  sealed  by  three  applications  of 
Sherwin-Williams  Concrete  and  Cement  Hard- 
ener. One  gallon  of  Concrete  and  Cement  Hard- 
ener will  treat  from  60  to  100  square  feet  of  ce- 
ment surface,  three  applications,  varying  with 

the  porosity  of  the  surface.  However,  in  esti- 
mating the  quantity  of  this  material  required, 
it  is  recommended  that  70  square  feet  be  taken 
as  basis  for  estimate. 

Sherwin-Williams  Concrete  and  Cement  Hard- 
ener is  a colorless  liquid  and  will  not  change  the 
color  or  texture  of  the  cement  floor. 

Specification 

Cement  Floors  not  to  be  painted  shall  be 
treated  with  three  applications  of  Sherwin- 
Williams  Concrete  and  Cement  Hardener.  The 
first  application  shall  be  reduced  in  proportion 
of  one  part  of  Hardener  to  two  parts  of  water. 

The  second  application  shall  consist  of  equal 
parts  of  Hardener  and  water.  The  third  appli- 
cation shall  be  in  proportion  of  two  parts  of 
Hardener  to  one  part  of  water.  Apply  by 
flushing  on  surface  and  brushing  out. 

Pa^e  sixty-two 


FINISHING  OF  INTERIOR  FLOORS 


Finishing  of  School  Room  and  (iymnasiiim  Floors 

Also  wood  doors  of  public  buildings,  subjected  to  on  obnorrnol  oniount  of  we;ir 


There  is  such  a thing  as  a wood  floor  being 
subjected  to  so  much  wear  that  it  is  not  practical 
to  finish  it  with  a paint  or  varnish.  School  room 
floors  are  an  excellent  example  of  this  type  of 
surface.  The  scuffing  of  the  children's  feet  rapid- 
ly wears  the  paint  or  varnish  in  the  aisles  and 
under  the  desks,  with  the  result  that  the  floor 
soon  takes  on  a mottled  appearance. 

For  this  reason  many  architects  have  in  the 
past  resorted  to  the  use  of  hot  boiled  linseed  oil 
and  turpentine,  feeling  that  even  though  it  is 
not  possible  to  give  the  floors  an  attractive 
finish  they  may  at  least  be  preserved.  However, 
it  has  been  found  that  the  treatment  of  the  floors 
in  this  manner  is  not  sanitary.  The  linseed  oil 
tends  to  collect  and  hold  dust,  dirt  and  germs; 
it  discolors  the  floors  and  makes  them  difficult 
to  clean  properly. 

The  Sherwin-Williams  Company  has  devel- 
oped a special  product  for  treating  floors  of  this 


nature,  which  is  highly  popular  and  for  which 
the  demand  is  growing  in  leaps  and  bounds  as 
more  people  become  familiar  with  the  i)roduct. 
This  product  is  known  as  Floor-Seal-Oil. 

Floor-Seal-Oil  is  a special  varnish  oil.  Two 
coats  are  recommended  for  treating  new  wood. 
The  first  coat  penetrates  into  the  jiores  of  the 
wood  and  almost  disappears.  The  second  coat 
completes  the  work  of  penetration  and  fills  the 
pores  of  the  wood  to  the  surface,  drying  with  a 
varnish  sheen  on  the  surface  of  the  wood. 
Floor-Seal-Oil  not  only  seals  and  preserves  the 
wood,  but  also  hardens  it  and  makes  it  resistant 
to  wear.  Renewal  of  the  treatment  once  every 
year  will  preserve  the  floor  for  an  indefinite 
period.  The  finish  on  the  surface  of  the  floor 
soon  disappears,  but  long  after  all  sign  of  the 
finish  is  lost  to  the  eye,  Floor-Seal-Oil  goes  on 
protecting  the  floor  against  wear  and  penetra- 
tion of  dirt  and  moisture. 


Specification 

All  wood  floors  to  be  treated  with  preservative  Floor-Seal-Oil  shall  be  made  in  the  consistency 
shall  be  smooth,  clean  and  free  from  all  grease,  supplied  by  the  manufacturer.  Allow  sufficient 
stains, etc.  Two  applications  of  Sherwin-Williams  time  for  drying  between  coats. 


Sherwin-Williams  Concrete  Floor  Paint 


( )r;iniio 


Dust 

(,ulur 


Yellow 


M aroon 


Pb^q  hree 


m 


FINISHING  OF  INTERIOR  FLOORS 


Hawaiian  Electric  Power  Plant,  Honolulu,  Hawaii 

Sherwin-Williams  Concrete  Cement  Hardener  used;  also  Sherwin-Williams  Concrete  Floor  Paint 
Exterior  Walls  painted  with  Sherwin-Williams  Concrete  Wall  Finish 


Finishing  of  Ballroom  Floors 


Ballroom  floors  present  a special  problem  in 
floor  finishing.  Here  is  a floor  on  which  neither  a 
varnished  finish  nor  a shellacked  finish  is  suit- 
able. The  finish  must  be  thoroughly  tough  and 
elastic,  yet  must  be  slippery  to  enable  dancing 
with  ease.  For  this  purpose  Sherwin-Williams 
Floor-Seal-Oil  is  recommended  as  a foundation 


for  two  finishing  coats  of  Prepared  Paste  Wax. 
This  finish  in  itself  however,  would  not  wear  in- 
definitely unless  Dancing  Floor  Wax  be  sprinkled 
over  the  surface  each  time  before  the  floor  is 
used.  This  renews  the  finish  and  keeps  the  floor 
in  excellent  condition.  (See  photograph  of  ball- 
room on  page  58,  finished  in  this  manner). 


Specification 


The  ballroom  floor  shall  be  surfaced  perfectly 
smooth  before  any  finish  shall  be  applied  and 
shall  be  thoroughly  cleaned  of  all  dust,  dirt, 
grease,  stains,  etc.  A first  coat  consisting  of 
Sherwin-Williams  Floor-Seal-Oil  shall  be  applied 
by  brush  with  reasonable  liberality.  When  dry 


sand  lightly.  Two  coats  of  Sherwin-Williams 
Prepared  Wax  (Paste)  shall  then  be  applied 
and  rubbed  to  a hard,  polished  surface  with  a 
polishing  brush  or  polishing  machine.  (Prior  to 
using  the  floor  for  dancing,  sprinkle  Sherwin- 
Williams  Dancing  Floor  Wax  over  the  surface.) 


IDOUi 


- ^ 

- rn! 
W 


L.  - 


Pa^e  sixty~four 


S1924E  D23  749 


